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CATALOGUE  OF  PAINTINGS 
BY  OLD  DUTCH  MASTERS 


ATALOGUE  OF  A  LOAN 
EXHIBITION  OF  PAINTINGS 
BY  OLD  DUTCH  MASTERS 
HELD  AT  THE  METROPOL- 
ITAN MUSEUM  OF  ART  IN 
CONNECTION  WITH  THE  HUDSON 
FULTON  CELEBRATION -SEPTEMBER' 
NOVEMBER  MCMIX^  BY  WILHELM 
R-VALENTINER:  CURATOR  OF  DEC 
ORATIVE  ARTS 


h/P 


PUBLISHED  BY  THE  METROPOLITAN 
MUSEUM  OF  ART- NEW  YORK-  MCMX 


Copyright,  1910 

by 

The  Metropolitan  Museum  of  Art 


PREFACE 


HE  Collection  of  paintings  by  Dutch  masters 
described  in  the  following  catalogue  formed  a  part 
of  the  exhibition  held  in  the  Metropolitan  Museum 
of  Art  from  September  20  to  November  30, 1909, 
in  connection  with  the  Hudson*  Fulton  celebra* 
tion  of  the  City  of  New  York.  The  celebration 
commemorated  two  important  events  in  the  hiss 
tory  of  the  city,  one  the  first  exploration  of  the  Hudson  River,  by 
Henry  Hudson,  1609;  the  other  the  introduction  of  steam  power 
upon  the  river  by  Robert  Fulton,  in  1807.  It  was  desirable  that  the 
Museum's  share  in  the  celebration  should  be  of  a  distinctly  artistic 
character;  and  as  there  was  practically  no  artistic  material  relating 
directly  to  either  of  the  two  events  commemorated,  the  committee 
in  charge  of  the  exhibition  decided  to  take  as  the  subject  for  the  Hud* 
son  section  the  great  art  of  Holland  in  the  century  in  which  Henry 
Hudson  lived,  and  to  illustrate  this  by  examples  of  the  Dutch  masters 
owned  in  America  today.  For  the  Fulton  section  a  collection  was 
brought  together  illustrative  of  the  various  arts  which  were  repre* 
sented  in  America  from  the  beginning  of  the  Colonial  period  to  the 
end  of  the  first  quarter  of  the  nineteenth  century. 

The  exhibition  was  held  under  the  auspices  of  the  Hudson*  Fulton 
Celebration  Commission,  in  cooperation  with  the  Trustees  of  the 
Museum,  and  its  administration  -was  in  charge  of  a  committee  ap* 
pointed  by  the  Commission,  consisting  of  J.  Pierpont  Morgan,  Gen* 
eral  Chairman  of  the  Art  and  Historical  Committee ;  Robert  W\ 
de  Forest,  Chairman  of  the  Committee  on  Art  Exhibits ;  Sir  Caspar 
Purdon  Clarke,  George  A.  Hearn,  George  F.  Kunz.,  and  Edward 
Robinson.  The  work  o£  selecting,  securing  and  arranging  the  pic* 
tures  in  the  Dutch  section  was  done  by  Edward  Robinson,  Bryson 
Burroughs,  andWilhelm  R.  Valentiner,  of  the  Museum  staff.  The 

iii 


response  with  which  their  efforts  were  met  resulted  in  the  most 
noteworthy  exhibition  of  Old  Masters  which  has  thus  far  been  held 
in  America;  and  as  the  interest  which  it  excited  seemed  likely  to  be 
of  more  than  a  temporary  nature,  two  friends  of  the  Museum  gave 
substantial  expression  to  a  general  desire  by  offering  to  guarantee 
the  expenses  of  a  special  catalogue,  in  which  all  the  pictures  should 
be  illustrated  as  finely  as  modern  processes  of  reproduction  permit, 
to  serve  as  a  permanent  and  worthy  record.  In  accordance  with 
their  instruction  the  present  book  has  been  prepared. 


IV 


CONTENTS 

PAGE 

Introduction i 

Abbreviations 29 

Catalogue  of  Artists 31 

artist  contributor 

Berchem,  Nicolaes 

i  The  Ford     .      .      .  Mr.  Charles  E.  Bushnell,  New  York     32 

Beyeren,  Abraham  van 

2  Still  Life      .      .      .  Mrs.  William  L.  Elkins,  Philadelphia     37 

Bol,  Ferdinand 

3  Portrait  of  a  Lady  Mr.  Theodore  M.Davis,  Newport     .      38 

Capelle,  Jan  van  de 

4  Winter  Scene  .      .  Mr.  P.  A.  B.  Widener,  Philadelphia     43 

5  Marine        .      .      .  Mr.  John  G.  Johnson,  Philadelphia     .    44 

Cuyp,  Aelbert 

6  Village  in  the  Dunes  Senator  W\  A.  Clark,  New  York      .     49 

7  Piping  Shepherds  .  Mrs.CollisP.  Huntington,  New  York     50 

8  The  Maas  near 

Dordrecht       .      .  Mr.  Henry  C.  Frick,  New  York  .      .      55 

9  River  View      .      .  Sir  William  van  Home,  Montreal     .     56 

I  o  Milking  sTime  .      .  Mr.  "W.  B.  Dickerman,  New  York    .      61 

I I  MilkingsTime  .      .  Mr.  George  J.  Gould,  New  York  .      .     62 
12  Landscape  with  Fig? 

ures  and  Cattle     .  Mr.  J.  Pierpont  Morgan,  New  York  .  67 
1  3  Landscape  with 

Bridge       .      .      .  Mrs.  John  W.  Simpson,  New  York  .  68 

14  Man  Eating  Mussels  Mr.  M.  C.  D.  Borden,  New  York       .  73 

1 5  Cock  and  Hens      .  Mr.  John  G.  Johnson,  Philadelphia     .  74 

16  Peaches       .      .      .  Mr.  John  G.Johnson,  Philadelphia     .  79 

v 


Go  yen,  Jan  van 

17  View  of  Rhenen    .  The  Metropolitan  Museum  of  Art  .  80 

18  View  of  Rhenen    .  Senator  W.  A.  Clark,  New  York  .  85 

19  View  of  Dordrecht  Senator  "W.  A.  Clark,  New  York  .  86 

Hals,  Dirk 

20  Children  Playing 

Cards  ....  Mr.J.  Pierpont  Morgan,  New  York  .      91 

2 1  Girls  with  a  Cat     .  Mr.  J.  Pierpont  Morgan,  New  York  .      92 

Hals,  Frans 
2  2  The  Smoker     .      .  The  Metropolitan  Museum  of  Art    .     97 

22A  The  Merry  Com* 

pany  ....  Mr.  B.  Altman,  New  York  ...  98 
2  3  Singing  Boys  .  .  Mr.  Charles  Stewart  Smith,  New  York  103 
24  Boy  Playing  a  Flute  Mr.  E.  D.  Libbey,  Toledo  ....    104 

2  5  Samuel  Ampzing, 

1630     ....  Sir  William  van  Home,  Montreal     .    109 

26  Wilhemvan  Heyts 

huysen      .      .      .  Mr.  Charles  L.  Hutchinson,  Chicago    no 

27  Portrait  of  a  Man, 

1633      ....  Mrs.  Morris  K.Jesup,  New  York        .     115 

28  Portrait  of  an  Artist, 

1635     ....  Mr.  Henry  C.Frick,  New  York  .      .    116 

29  The  Rev.  Caspar 

Sibelius,  1637       .  Mr.  M.  C.  D.  Borden,  New  York        .    121 

3  o  Michiel  deWael  (?) 

1638     ....  Mr.J.  Pierpont  Morgan,  New  York  .  122 

31  Portrait  of  a  Lady  Mr.J.  Pierpont  Morgan,  New  York  .  127 

32  Portrait  of  a  Man  .  Mr.  P.  A.  B.Widener,  Philadelphia  128 
3  3  Heer  Bodolphe  .  Mr.J.  Pierpont  Morgan,  New  York  .  133 
34  Vrouw  Bodolphe, 

1643  ....  Mr.J.  Pierpont  Morgan,  New  York  .  134 
3  5  Portrait  of  a  Man, 

1643  •  Mrs.  CoUis  P.  Huntington,  New  York  139 
36  Dorothea  Berck, 

1644  ....  Mrs.  Collis  P.  Huntington,  New  York   140 

vi 


Hals,  Frans — Continued 
3  7  Balthasar  Coymans, 

1645     ....  Mrs.  Collis  P.  Huntington,  NewYork    145 
38  Isabella  Coymans  Mr.  P.  A.  B.  Widener,  Philadelphia  146 

3  9  Portrait  of  a  Man, 

1648     ....  Mr.  Charles  M.  Schwab,  New  York    151 

40  Portrait  of  a  Lady  The  Metropolitan  Museum  of  Art    .    152 

4 1  Portrait  of  a  Man  The  Metropolitan  Museum  of  Art    .    157 

Helst,  Bartholomeus  van  der 

42  Portrait  of  a  Man, 

1647     ....  The  Metropolitan  Museum  of  Art    .    158 

43  Portrait  of  a  Lady  Mr.  Robert  W\  de  Forest,  New  York    163 

Heyden,  Jan  van  der 

44  Street  in  Delft  .      .  Mr.  Theodore  M.  Davis,  Newport    .   164 

4  5  Bull  in  the  Street    .  Mr.  William  T.  Blodgett,  New  York  169 

HoBBEMA,  MeINDERT 

46  The  Pool     .      .      .  Mr.  William  T.  Blodgett,  New  York    170 

47  Castle  Kostverloren  Mr.  M.  C.  D.  Borden,  New  York      .    175 

48  Holford  Landscape, 

1663      ....  Mr.  J.  Pierpont  Morgan,  New  York  .   176 

49  Cottage  Among  the 

Trees,  1665      .      .  Mr.  Henry  C.  Frick,  New  York        .    181 

50  Wooded  Road        .  Mrs.  William  L.  Elkins,  Philadelphia    182 

5  1  Trevor  Landscape, 

1667      ....  Mr.  J.  Pierpont  Morgan,  New  York  .    187 
52  Road  in  the  Woods  Mr.  George  J.  Gould,  New  York       .   188 

HoOCH,  PlETER  DE 

5  3  The  Visit    .      .      .  Mrs.  Henry  O.  Havemeyer,  NewYork  193 
53A  Woman  at  the 

Washtub        .      .  Mr.  J.  Pierpont  Morgan,  NewYork  .   194 

54  Woman  and  Child 

in  Courtyard  .      .  Mr.  P.  A.  B.  Widener,  Philadelphia  199 

55  The  Bedroom  .      .  Mr.  P.  A.  B.  Widener,  Philadelphia   200 

vii 


Rembrandt,  van  Rijn — Continued 
92  Portrait  of  a  Young 

Man,  1647       •      •  Mr.  Henry  C.Frick,  New  York  .      .    313 
9  3  A  Young  Painter, 

1648  (Jan  van  de 

Capelle?)   .      .      .  Mr.  J.  Pierpont  Morgan,  New  York  .    314 

94  Portrait  of  Himself, 

1650      ....  Mr.  P.  A.  B.  Widener,  Philadelphia    319 

95  Study  of  an  Old 

Man,  c.  1650   .      .  Mr.  George  J.  Gould,  New  York  .      .    320 

96  The  Philosopher, 

c.  1650        .      .      .  Mr.  P.  A.  B.  Widener,  Philadelphia    325 

97  The  Savant,  1653   .  Mrs.  Collis  P.  Huntington,  New  York    326 

98  The  Standard* 

Bearer,  1654    .      .  Mr.  George  J.  Gould,  New  York  .      .    331 

99  Portrait  of  a  Man, 

1655       ....  Mr.  James  Ross,  Montreal       .      .      .    332 

100  Portrait  of  an  Old 

Man,  c.  1655    •      •  Mr.  W.  A.  Slater,  Washington   .      .    337 

101  The  Sibyl,  c.  1656  Mr.  Theodore  M.  Davis,  Newport    .    338 

102  Portrait  of  Himself, 

1658      ....  Mr.  Henry  C.  Frick,  New  York  .      .    343 

103  Hendrickje  Stoffels, 

1660     ....  Mrs.  Collis  P.  Huntington,  New  York  344 

104  The  Accountant   .  Mr.  Charles  M.  Schwab,  New  York  349 
104A  Portrait  of  a  Young 

Man  (Thomas  Ja* 

cobszHaring?)      .  Mr.  B.  Altman,  New  York    .      .      .    350 

105  Lucretia  Stabbing 

Herself,  1664        .  Mr.  M.  C.  D.  Borden,  New  York       .    355 

106  Portrait  of  a  Man, 

1665      ....  The  Metropolitan  Museum  of  Art    .    356 

107  Portrait  of  a  Man, 

c.  1665        .      .      .  The  Metropoli  tan  Museum  of  Art    .    361 


x 


Rembrandt,  van  Rijn — Continued 

107A  Titus  the  Son  of 
Rembrandt  (The 
Man  with  a  Mag* 
nifying  Glass)        .  Mr.  B.  Altaian,  New  York    .      .      .   362 

107B  Magdalena  van  Loo 

(Lady  with  a  Pink)  Mr.  B.  Altaian,  New  York    .      .      .   367 

Ruisdael,  Jacob  van 

108  Cottage  under  Trees  Mr.  J.  Pierpont  Morgan,  New  York  .  368 

109  The  Sluice  .  .  .  Mrs.  John  W\  Simpson,  New  York  373 
no  Dunes  near  Haarlem  Mr.  "W.  A.  Slater,  Washington  .  .  374 
in  Winter  Landscape  Mr.  John  G.Johnson,  Philadelphia    .   379 

112  Stormy  Sea       .      .  Mr.  James  Ross,  Montreal       .      .      .   380 
1 12 a  The  Wheatfields 

(Un  Coup  deSoleil)  Mr.  B.  Altaian,  New  York    .      .      .385 

113  Woods  .      .      .      .   Senator  W\  A.  Clark,  New  York     .  386 

1 14  The  Forest  Stream  The  Metropolitan  Museum  of  Art    .    391 

115  The  Gnarled  Oak  .  Mr.  Robert  W.  de  Forest,  New  York   392 


397 
398 


116  The  Cascade     .      .  Mr.  M.  C.  D.  Borden,  New  York 

1 1 7  A  Waterfall     .      .  Mr.  Henry  C.  Frick,  New  York 

118  The  Mountain  Tor* 

rent       ....  Mrs.  Collis  P.  Huntington,  New  York  403 

Ruysdael,  Salomon  van 

119  Canal  Scene,  1640  Mrs.  Morris  K.Jesup,  New  York      .  404 

120  A  Country  Road, 

1648     ....  The  Metropolitan  Museum  of  Art    .  409 

121  Winter  Scene,  165*?  The  Metropolitan  Museum  of  Art    .  410 

122  V/internearHaar* 

lem,  1656  .      .      .  Mr.  P.  A.  B.  Widener,  Philadelphia  415 

Steen,  Jan 

123  Kermesse    .      .      .  The  Metropolitan  Museum  of  Art    .  416 

124  Grace  Before  Meat  Mr.  John  G.Johnson,  Philadelphia    .    421 

125  The  Drained  Cask  Mr.  Charles  M.  Schwab,  New  York  422 

xi 


Steen,  Jan — Continued 

126  The  Dancing  Couple 

1663      ....  Mr.  P.  A.  B.  Widener,  Philadelphia  427 

127  The  Merrymakers  Mr.  P.  A.  B.  Widener,  Philadelphia  428 

Terborch,  Gerard 

128  The  GuardsRoom, 

1658      ....  Mr.  John  G.  Johnson,  Philadelphia     .    433 

129  Lady  Pouring  Wine  Mr.  M.C.  D.Borden,  New  York      .  434 

130  Portrait  of  a  Young 

Man      ....  Senator  W\  A.  Clark,  New  York      .   439 

131  Portrait  of  a  Lady  Mr.  Henry  C.  Frick,  New  York        .  440 

Velde,  Adriaen  van  de 


132  Landscape  with 

Cattle  .      .      . 

Velde,  Willem  van  de 

133  Calm  Sea     . 

1 34  Calm  Sea     . 

Vermeer,  Johannes 

135  Lady  with  Lute 

136  Lady  Writing 

137  Girl  with  Water* 

Jug        •      • 
137A  Girl  Sleeping 


Mr.  John  G.Johnson,  Philadelphia     .  445 

Mr.  William  T.  Blodgett,  New  York  446 
Mr.  M.C.  D.Borden,  New  York      .   451 

Mrs.  Collis  P.  Huntington,  New  York  452 
Mr.  J.  Pierpont  Morgan,  New  York  .   457 


458 
463 
464 
469 

470 


The  Metropolitan  Museum  of  Art    .   475 


The  Metropolitan  Museum  of  Art 
Mr.  B.  Altman,  New  York    .      . 

138  The  Music  Lesson  Mr.  Henry  C.  Frick,  New  York  . 

139  Lady  with  Guitar  Mr.  John  G.  Johnson,  Philadelphia 

Verspronck,  Jan  Cornelisz 

140  Portrait  of  a  Man  .  Mr.  Wilhelm  Funk,  New  York  . 
Vlieger,  Simon  de 

141  Calm  Sea     . 

Wouwerman,  Philips 

142  Frozen  Canal    . 

143  The  Horse  Fair 

List  of  Contributors 


Senator  W.  A.  Clark,  New  York 
Mrs.  E.  C.  Hobson,  Washington 

xii 


476 
481 

483 


INTRODUCTION 


INTRODUCTION 


O  representative  a  survey  of  Holland's  achieve* 
ment  in  the  art  of  painting  during  the  Seventeenth 
Century  as  the  Hudson*Fulton  exhibition  affords 
is  proof  of  the  fortunate  acquisitions  made  in  this 
direction  by  American  collectors  in  recent  years. 
Some  little  astonishment  will  no  doubt  be  felt  in 
European  art  circles  that  it  was  possible  to  assem* 
ble  in  New  York  one  hundred  and  fifty  paintings  of  first  importance, 
among  them  thirty*seven  by  Rembrandt,  twenty*one  by  Frans  Hals, 
and  six  by  Vermeer.  Even  so  the  supply  o£  Dutch  masters  in  private 
collections  is  far  from  exhausted.  Two  large  private  collections  have 
made  no  contribution  to  the  exhibition,  and  from  others  only  a  part 
of  their  wealth  of  examples  could  be  chosen.  Only  about  half,  there* 
fore,  of  the  seventy  Rembrandts  now  in  America  are  exhibited,  with 
perhaps  two*thirds  of  the  works  by  Frans  Hals,  Hobbema  andCuyp. 
Of  the  seven  Vermeers  in  this  country,  however,  we  have  been  so 
fortunate  as  to  secure  six,  and  the  work  of  Pieter  de  Hooch  is  -with 
two  exceptions  almost  completely  illustrated,  so  far  as  his  best  period 
is  concerned. 

In  assembling  the  exhibition  it  became  evident  that  American 
collectors  evinced  marked  preference  for  certain  masters  and  classes 
of  paintings.  The  art  of  portraiture,  in  particular,  is  most  satisfy* 
ingly  illustrated  in  their  collections,  masters  like  Rembrandt  and 
Frans  Hals  being  almost  solely  represented  by  portraits.  Among 
landscape  painters  the  preference  is  given  to  Hobbema  and  Cuyp. 
Other  sides  of  Dutch  art  are  not  so  popular  here :  there  are  com* 
paratively  few  examples  of  genre  subjects  by  masters  like  Terborch, 
Metsu,  Jan  Steen,  the  two  Ostades;  o£  Biblical  subjects  (of  the  sev* 
enty  Rembrandts  in  America  only  four  deal  with  this  theme);  o£ 
still  life  by  its  best  exponents,  and  of  the  work  of  several  animal 


and  landscape  painters  such  as  Adriaen  van  de  Velde,  Paulus  Potter, 
Tan  van  der  Heyden,  Jan  van  de  Capelle  and  others.  It  is  possible 
that  the  exhibition  may  incite  art  lovers  to  extend  their  collections 
in  these  directions,  since  it  was  fortunately  possible,  through  the 
kindness  of  several  gentlemen  whose  collections  include  works  by 
the  above-named  masters,  to  obtain  examples  by  them  for  the 
exhibition. 

It  was  only  after  the  death  of  Hudson,  whose  life  was  content 
poraneous  with  the  period  of  Holland's  political  development,  that 
a  Dutch  school  of  painting  of  international  significance  arose.  If  the 
Dutch  paintings  shown  at  the  Hudson*Fulton  Exhibition  are  the 
fruit  of  the  succeeding  fifty  years,  it  must  be  remembered  that  they 
are  expressive  of  the  ideas  of  Hudson's  contemporaries  who  in 
achieving  Holland's  political  freedom  made  this  expression  possible. 
It  was  only  on  the  favorable  issue  o£  the  Lowland  wars,  after  the 
truce  with  Spain  in  1609,  that  the  nation  had  time  and  opportunity 
to  occupy  itself  with  the  aesthetic  expression  of  its  newly*achieved 
nationality.  That  there  had  been  Dutch  painters  of  independent 
character  since  the  Fifteenth  Century  is  true,  but  Holland  at  that 
time  was  still  united  with  the  southern  Lowland  states,  belonged 
to  the  empire  of  the  Habsburgs,  and  followed  in  artistic  expression 
the  general  trend  o£  central  European  culture.  In  the  Sixteenth 
Century,  with  Germany  and  Belgium,  it  fell  under  the  influence  of 
the  Italian  Renaissance ;  and  toward  the  end  of  the  century  interior 
discords  brought  a  cessation  of  artistic  endeavor.  At  the  beginning 
of  the  Seventeenth  Century  Holland  had  apparently  not  yet  estab* 
lished  her  independence,  which  was  only  proclaimed  in  1648;  but 
the  Thirty  Years' War,  which  so  far  as  Holland  was  concerned,  had 
been  preceded  by  a  successful  war  of  fifty  years'  duration,  had  in 
her  case  no  destructive  effect.  The  nation  could  now  turn  its  atten* 
tion  completely  to  the  development  of  an  inner  life,  though  the  art 
of  this  period  frequently  reflects  the  war  spirit  that  was  still  abroad 
in  the  land. 

The  golden  era  of  Dutch  painting  is  compressed  into  the  brief 
period  between  1625  and  1670,  although  three  generations  of  masters 
lent  their  lustre  to  it— Frans  Hals,  born  in  1584,  Rembrandt,  born  in 


1606,  and  Jan  Vermeer,  born  in  1632.  If  the  art  of  the  first  genera* 
tion  flowered  late,  and  that  of  the  third  had  an  early  close,  it  is  due 
to  the  fact  that  a  certain  period — about  two  decades — was  necessary 
for  the  development  and  establishment  of  a  national  art,  and  that  in 
1670  the  French  school  made  its  victorious  appearance,  completely 
submerging  the  native  painting.  Unusually  late  was  Hals"  develop* 
ment,  and  Jan  Vermeer  died  early  in  1677.  In  this  manner  Rem* 
brandt's  productive  era  embraces  almost  the  three  generations,  the 
art  of  which  but  for  his  influence  could  never  have  attained  so  rich 
a  development. 

During  this  golden  age  Holland's  contribution  to  the  universal 
progress  of  painting  lay  primarily  in  the  fact  that  she  freed  it  from 
its  dependence  upon  the  Church,  and  originated  a  series  of  new- 
types  which  have  since  become  common  to  all  nations.  Until  that 
period  the  painter  had  occupied  himself  chiefly  with  the  production 
of  altarpieces  and  paintings  which  were  intended  to  exert  a  religious 
influence  upon  the  spectator.  The  Dutch  Church,  however,  no 
longer  wished  for  pictures,  so  it  devolved  upon  the  artist  to  originate 
his  own  theme  or  to  procure  it  from  some  private  patron.  Paintings 
were  now  destined  for  the  decoration  of  private  houses,  and  conse* 
quently  assumed  a  less  unwieldy  form.  In  the  place  of  altarpieces 
or  wall  paintings,  easel  pictures  came  into  vogue.  It  was  natural, 
too,  that  a  reaction  should  take  place  against  all  forms  of  the  idealism 
of -which  at  least  a  pretense,  until  that  time,  had  been  made.  Artists 
began  to  reproduce  simply  -what  they  observed  in  nature  around 
them,  and  their  patrons  were  content  to  hang  on  their  walls  a  land* 
scape  or  a  street  scene  such  as  they -were  familiar  with  in  their  daily 
life.  The  simple  realism,  closely  following  the  chosen  model,  was 
natural  to  the  Dutch  people,  whose  strength  lay  less  in  their  imag* 
ination  than  in  their  powers  of  close  observation.  In  this  manner 
were  inaugurated  the  various  types  of  paintings  as  we  now  know 
them — landscapes,  genre  subjects,  still  life,  and  portraits.  Of  these 
only  portraiture  had  before  enjoyed  an  independent  existence,  and 
even  then  frequently  in  connection  with  religious  subjects. 

The  highest  achievements  of  Dutch  art  are  confined  to  paintings 
of  the  above  types — which  are  those  represented  by  the  pictures 

3 


of  this  exhibition.  The  portrayal  of  religious  subjects  fell  almost 
altogether  into  abeyance,  Rembrandt  being  their  only  exponent, 
although  his  deeply  spiritual  conception  compensates  for  any  appar* 
ent  lack  of  inspiration  among  his  contemporaries. 

In  addition  to  his  realism,  the  Dutch  artist  is  characterized  by  a 
strong  feeling  for  color  and  a  peculiarly  keen  observance  of  the  play 
of  light  and  shadow.  He  rejects,  as  a  rule,  the  rich  variations  of  local 
coloring,  pitching  his  composition  in  one  or  few  tones.  A  glance 
over  the  exhibition  convinces  one  of  this  sparing  use  of  the  more 
lively  colors;  here  and  there  perhaps  one  at  most  appears.  The 
silvery?gray  tones  so  exquisitely  rendered  during  the  Hals  period, 
or  the  golden  browns  characteristic  of  Rembrandt,  predominate. 
Within  this  restricted  scale,  however,  what  rich,  -what  subtile  gra* 
dations !  To  explain  this  preference  for  brown  and  gray  one  needs 
but  to  recall  Dutch  scenery,  which,  naturally  not  rich  in  color,  is 
often  still  further  dimmed  by  the  mist  which  veils  it.  Then,  too,  dark 
tones  with  strong  contrast  of  light  and  shade  were  characteristic  of 
the  Baroque  period,  and  a  love  of  dark  shadows  and  monochrome 
prevailed  in  all  other  European  countries  in  the  Seventeenth  Cens 
tury,  as  in  the  works  of  Salvator  Rosa,  Murillo  and  Gaspar  Poussin. 
The  depicting  of  the  play  of  light  and  shadow,  which  demands  a 
certain  subduing  of  the  color  scheme,  became  among  certain  Dutch 
masters  the  keynote  of  their  art.  This  is  true  of  Pieter  de  Hooch  and 
Jan  Vermeer,  who  in  their  interiors  reproduced  marvelously  the 
play  of  light,  and  of  Rembrandt,  who  obtained  his  most  poignant 
shades  of  expression  through  its  medium.  The  landscapists  were 
especially  happy  in  their  delineation  of  the  effect  of  sunlight  on 
clouds :  Cuyp,  for  instance,  with  his  love  for  the  golden  tones  of 
evening,  and  Jan  van  Goyen  and  Jacob  van  Ruisdael,  whose  clouds 
drenched  in  silver  light  seem  to  be  living  organisms.  Regarded  as  a 
whole,  Dutch  art  from  the  period  of  Frans  Hals  to  that  of  Rem* 
brandt  developed  along  the  line  of  an  increasingly  individual  and 
spiritual  conception  of  nature.  The  works  of  Hals  and  his  content 
poraries  express  a  naive  and  momentary  impression,  which  in 
Rembrandt's  time  has  been  replaced  by  a  more  thoughtful  and 
contemplative  mood. 


The  period  of  Frans  Hals  is  represented  in  the  exhibition  by 
twentysone  -works  from  tbe  master's  own  band  and  by  several  of 
bis  followers,  Jan  Verspronck,  Juditb  Leyster,  Dirk  Hals,  as  well 
as  by  tbe  landscapists  of  tbe  period,  Jan  van  Goyen  and  Salomon 
Ruysdael. 

Frans  Hals  was  tbe  son  of  stirring  times  wbicb  are  reflected  botb 
in  bis  life  and  in  bis  art.  He  came  from  Antwerp  and  brougbt  witb 
bim  to  Haarlem  sometbing  of  tbe  Flemisb  temperament.  On  bis 
arrival,  be  seems,  before  settling  down  to  work,  to  bave  devoted 
bimself  for  some  time  to  a  life  of  pleasure.  Tbe  pictures  on  wbicb 
bis  fame  rests  seem  all  to  bave  been  painted  after  bis  thirty*  fifth 
or  fortietb  year.  He  was  twice  married  and  bad  several  children, 
whom  he  depicts  for  us  charmingly  in  his  genre  pictures.  During 
his  long  life  in  Haarlem,  he  became  the  founder  of  an  important 
school,  more  by  force  of  example  than  by  any  methodical  instruct 
tion.  His  pictures  seem  painted  in  a  passion  of  eagerness,  with  a 
wonderfully  sure  band:  impressions  of  a  moment,  hastily  seized  from 
his  restless  models — wild  youths  drinking  in  a  beer  shop,  children 
laughing  unrestrainedly  at  their  play,  above  all,  the  industrious 
burghers  still  eagerly  occupied  in  the  upbuilding  of  their  nation. 
The  expression  mirrored  in  the  countenance  in  a  moment  of  passing 
excitement  appealed  to  him  particularly,  expressions  characteristic 
of  a  people  newly  attained  to  independence,  naive  pride,  defiance, 
triumph  or  wild  merriment.  At  the  same  time  his  brushswork  dis* 
plays  a  semiconsciousness  and  individuality  undreamed  of  by  any 
earlier  artist.  He  was  the  most  "modern"  of  his  time,  knowing  that 
by  his  fluid,  sketch*like  brushstrokes  he  obtained  a  mobflity  and 
animation  never  before  reached,  and  realizing  that  his  colors  seemed 
thereby  more  luminous  and  deeper. 

Frans  Hals  is  probably  more  fully  represented  in  America  than 
any  other  Dutch  artist.  The  works  here  exhibited  show  him  at  his 
best,  for  almost  all  of  them  date  from  his  most  felicitous  period  (1635 
to  1655),  and  have  neither  the  hard  dryness  of  his  earlier  style,  nor 
the  black  shadows  of  his  later  -work.  Hals  seldom  again  displayed 
the  mastery  exhibited  in  the  "Portrait  of  an  Artist,"  owned  by 
Mr.  Frick,  in  Mr.  Morgan's  "Heer  and  Vrouw  Bodolpbe,"in  the 

5 


"Portrait  of  a  Woman,"  belonging  to  the  Museum,  and  in  the 
"Isabella  Coymans,"  from  Mr.  Widener's  collection,  whicb  equal 
any  of  Kis  best  works  in  Haarlem.  The  same  freedom  and  spirit, 
too,  are  displayed  in  the  smaller  pictures  (the  portraits  of  clergy? 
men  owned  by  Sir  William  van  Home  and  Mr.  Borden,  and  Mr. 
Hutchinson's  "  W'ilhem  Heythuysen,")  while  in  similar  works  his 
contemporaries  so  often  lost  themselves  in  details.  And  how  excel* 
lently  the  character  of  his  subjects  is  expressed  in  their  pose!  Wliile 
his  fellow* artists  Mierevelt,  Ravesteyn,  Honthorst  and  Moreelse 
constantly  repeat  a  single  attitude,  the  three*quarter  view,  Hals 
seems  to  allow  his  model  to  pose  himself  at  will.  The  rather  haughty 
young  aristocrat  "Balthasar  Coymans,"  from  Mrs.  Huntington's 
collection,  rests  his  arm  nonchalantly  on  the  back  of  his  chair;  in 
the  other  portrait  lent  by  Mrs.  Huntington,  a  man  with  a  strained, 
nervous  countenance  clasps  his  gloves  stiffly  to  his  breast,  while  the 
preacher  Sibelius  holds  his  right  hand  aloft  in  eloquent  gesture.  The 
women,  whose  true,  domestic  natures  were  inimitably  portrayed 
by  him,  are  shown  with  hands  crossed  comfortably  on  their  laps. 
And  what  unconstrained  merriment  his  children  reveal !  Scarcely 
another  painter,  even  Rembrandt  himself,  has  portrayed  them  in  so 
fresh  and  lifelike  a  manner.  Mr.  Charles  S.  Smith's  and  Mr.  Libbey's 
pictures  show  this  side  of  his  art,  an  approach  toward  genre  painting 
in  portraiture. 

The  manner  in  which  his  style  was  modified  by  his  pupils  is 
shown  in  the  two  charming  pictures  by  Dirk  Hals,  lent  by  Mr. 
Morgan,  and  in  Judith  Leyster's  gaily*colored  painting,  belonging 
to  Mr.  Johnson.  The  same  bright,  joyous  mood  is  there,  but  the 
figures  are  on  a  smaller  scale,  in  more  spacious  surroundings  and 
depicted  in  lively,  concerted  action.  In  temperament  and  brush* 
work  these  pictures  are  so  closely  allied  to  the  master  that  their 
former  attribution  to  him  is  easily  understood.  It  is  indeed  only  of 
recent  years  that  the  works  of  Judith  Leyster,  the  foremost  Dutch 
-woman  painter  and  -wife  of  Jan  M.  Molenaer,  a  pupil  of  Hals,  have 
been  distinguished  from  those  of  the  master  himself.  In  the  art  of 
portraiture  Jan  Verspronck  was  Hals'  most  worthy  follower,  and  his 
gracious  style  is  well  represented  by  the  painting  lent  by  Mr.  Funk. 

6 


The  same  simple  realism  with  which  Hals  painted  his  contem? 
poraries  is  apparent  in  the  portrayal  of  Dutch  scenery  by  Jan  van 
Goyen  and  Salomon  Ruysdael,  who  raised  the  art  of  landscape  paint? 
ing  to  independence.  There  exists  a  spiritual  relationship  between 
these  two  masters,  both  of  whom  chose  as  subjects  the  flat  country* 
side  intersected  by  canals,  the  lines  of  dunes,  a  view  of  open  sea 
or  a  frozen  canal.  Salomon  Ruysdael  has,  perhaps,  a  richer,  more 
glowing  palette,  van  Goyen  finer  gradations  of  tone.  It  was  a  great 
innovation,  compared  with  the  old  school  of  landscape  painting, 
that  these  artists  dared  to  picture  a  low?lying,  level  horizon,  as  in 
reality  it  appears  to  the  eye,  giving  at  the  same  time  to  the  heavens 
the  full  value  of  their  height.  The  earlier  artists,  with  a  kind  of  bird's? 
eye  perspective,  had  covered  their  canvases  with  scenery,  and  then, 
fearing  that  this  alone  -would  not  hold  the  interest,  had  generally 
added  numerous  brightly? colored  figures.  Nov/  the  beauty  of  the 
wide  Dutch  landscape  began  to  be  felt,  and  its  exponents  relied 
upon  the  close  observation  and  portrayal  of  atmospheric  shades  to 
relieve  the  seeming  emptiness.  All  figures  were  subordinated  to  the 
general  color?scheme,  and  receded  before  the  preoccupation  with 
nature.  In  the  two  paintings  lent  by  Senator  Clark,  and  the  one 
owned  by  the  Museum,  van  Goyen  is  shown  at  the  height  of  his 
middle  and  later  periods.  The  two  larger  paintings,  depicting  the 
same  scene,  the  town  of  Rhenen,  and  painted  ten  years  apart,  are 
still  in  the  brown  tones  of  the  thirties  and  forties,  while  the  view 
of  Dordrecht  has  the  silvery  tints  of  the  later  period.  In  the  golden? 
brown  tones  of  the  two  large  woodland  scenes  by  Salomon  Ruys? 
dael  (in  the  Museum  and  the  collection  of  Mrs.  Jesup)  the  influence 
of  the  school  of  Rembrandt  is  easily  discernible.  Salomon  Ruys? 
dael  is  further  charmingly  represented  by  some  rare  winter  scenes, 
notably  that  owned  by  Mr.  ^Videner.  In  this  connection  mention 
should  be  made  of  Aert  van  der  Neer,  an  artist  who,  belonging  in 
part  to  a  later  period,  confined  himself  to  a  narrow  field  of  expres? 
sion,  the  painting  o£  moonlight,  sunset  and  -winter  scenes.  The 
night  scene  belonging  to  Mr.  Hermann  is  painted  in  an  exquisite 
miniature?like  finish. 

The  most  prominent  place  in  the  exhibition  is  naturally  occupied 

7 


by  Rembrandt.  It  would  seem  impossible  to  see  too  many  of  bis 
works  side  by  side,  for  bardly  anotber  master  in  tbe  bistory  of  art 
can  sbow  so  varied  a  development.  Tbrougb  four  decades,  from 
year  to  year,  one  can  trace  bis  ever*unfolding  powers,  wbile  per* 
baps  no  one  else  bas  depicted  so  diverse  a  range  of  subjects.  He  was 
tbe  one  Dutcb  painter  wbo  attempted  witb  equal  success  all  forms 
of  pictorial  representation — portraiture,  religious  and  bistorical 
scenes,  genre,  landscape  and  still  life — and  to  all  tbese  varied  types 
be  brougbt  bis  deeply  personal  point  of  view.  As  superficial  medi* 
urns  of  bis  art  one  notes  especially  tbe  contrast  of  bgbt  and  sbadow, 
tbe  empbasizing  of  some  special  feature  tbrougb  a  bgbt  falling  into 
a  dark  room ;  its  inner  strengtb  rests  on  bis  masterly  delineation  of 
feeHng,  for  wbicb  tbis  mysterious  and  concentrated  bgbting  is  but 
tbe  preparation.  He  is  one  of  tbe  greatest  delineators  of  cbaracter 
and  of  tbe  patbetic  side  of  bumanity,  and  is  related  tberein  to  Snake; 
speare,  to  wbom  tbe  analysis  of  buman  nature  witb  all  its  sbades 
and  passions  was  of  paramount  interest.  Rembrandt,  as  an  earnest, 
slow*blooded  Dutcbman,  naturally  occupied  bimself  more  witb  tbe 
portrayal  of  tbe  quieter  moods  tban  witb  violent  manifestations  of 
passion.  By  a  sbade  of  expression  be  mirrored  on  tbe  countenance 
tbe  innermost  feeHngs  of  tbe  soul,  in  a  manner  satisfying  even  from 
tbe  modern  psycbological  standpoint  and  unique  in  earlier  art.  Tbis 
buman  side  of  bis  art  makes  so  strong  an  appeal,  wbile  tbe  form  is 
of  sucb  tecbnical  perfection,  tbat  one  asks  ones  self  at  times,  wbicb 
is  tbe  more  wonderful,  Rembrandt  tbe  artist,  or  Rembrandt  tbe 
man?  Tbrougb  bis  interest  in  psycbology,  portraits  and  portrait 
studies — studies,  tbat  is,  in  wbicb  tbe  model  seems  to  be  unconscious 
of  observation — constitute  tbe  greater  part  of  bis  artistic  acbieve^ 
ment.  Tbey  embrace  about  two*tbirds  of  bis  total  output  of  more 
tban  six  bundred  and  fifty  pictures,  and  predominate  in  tbe  exbi= 
bition. 

Tbere  are,  first  of  all,  a  series  of  selfportraits  representing  tbe  artist 
at  tbe  various  stages  of  bis  career.  Tbe  study  from  tbe  collection  of  tbe 
late  King  of  Belgium,  now  owned  by  Mr.  Morgan,  and  tbe  pictures 
of  Mr.  Libbey  and  Mr.  Logan  sbow  bim  witb  smootb,  untroubled 
countenance,  bis  blunt  features  suggesting  a  bumble  origin,  but 

8 


already  reflective  and  regarding  the  world  with  an  expression  o£ 
confidence.  The  last  two  paintings  date  from  the  period  when  the 
young  artist,  leaving  his  circumscribed  surroundings  in  Leyden, 
went  to  cosmopolitan  Amsterdam,  where  fame  awaited  him.  The 
portrait  from  Mr.  Terrell's  collection,  painted  twelve  years  later, 
depicts  the  artist  at  the  pinnacle  of  his  fortunes  as  the  first  painter 
of  Amsterdam.  An  air  o£  confident  distinction  has  replaced  the  hesi= 
tancy  of  youth,  and  inner  content  and  the  congenial  exercise  of  his 
powers  are  expressed  in  his  hearing.  The  portrait  owned  by  Mr. 
Widener,  pre-eminent  in  its  coloring,  dates  from  the  year  1650  and 
denotes  in  the  slightly  saddened  expression  the  change  that  had  taken 
place  in  the  artist's  fortunes.  His  fame  had  begun  to  diminish,  and 
public  and  domestic  misfortune  went  hand  in  hand,  but  the  glitter  o£ 
splendid  color  with  which  he  has  surrounded  himself  in  this  canvas 
serves  to  mitigate  the  bitter  expression  of  his  features.  Lastly,  there 
is  that  supreme,  much4auded  work  belonging  to  Mr.  Frick,  painted 
at  the  time  -when  through  his  bankruptcy  the  artist's  social  position 
was  shattered.  Seldom  has  an  artist,  arrayed  in  such  humble  gar* 
ments,  presented  more  consciously  and  imposingly  his  true  majesty 
to  the  eyes  of  the  world.  To  the  society  which  will  no  longer  recog* 
nize  him  he  presents  a  countenance  of  royal  disdain  and  smiling  scorn, 
expressed  with  a  perfection  of  technique  as  simple  as  it  is  powerful. 
From  other  portraits  we  learn  of  Rembrandt's  family  life,  for  he 
was  of  an  essentially  domestic  nature,  and  his  devotion  to  his  family 
is  mirrored  in  their  eyes  as  painted  by  him.  The  portrait  of  Saskia 
belonging  to  Mr .  Widener  is  full  of  the  transfiguring  glow  of  the  first 
years  of  their  married  life  and  is  one  of  the  most  charming  studies  o£ 
this  gracious  woman  ever  painted  by  the  artist.  When  Saskia  died 
in  1642,  Rembrandt,  after  some  years  o£ solitude,  took  into  his  home 
a  girl  of  humble  origin  to  care  for  the  little  Titus,  his  son.  This  was 
Hendrickje  Stoffels,  who  later  became  his  second  wife.  It  may  be 
that  she  "was  the  original  of  the  picture  from  the  Art  Institute  in 
Chicago,  dated  1645,  "which  bears  a  resemblance  to  some  of  her 
assured  portraits  of  later  date.  She  was  a  simple  girl,  possibly  an 
orphan,  neither  so  accomplished  nor  so  distinguished  as  was  Saskia, 
but  possessed  of  a  warm  heart,  and  she  proved  a  true  helpmeet  to  the 

9 


artist  until  her  early  death.  The  portrait  owned  by  Mrs.  Huntington 
dates  from  the  period  of  her  illness,  fifteen  years  later.  A  golden 
evening  light,  like  a  dissolving  dream,  surrounds  her  figure ;  her  look 
expresses  weariness,  but  the  pose  is  full  of  touching  devotion  and 
love.  Such  works  as  this  show  the  remoteness  of  Rembrandt  from 
Frans  Hals,  who  saw  only  the  joyous  side  of  life,  and  understood 
nothing  of  resignation,  pain,  or  the  feelings  which  He  concealed 
beneath  the  surface.  After  her  death,  only  Titus  remained  to  his 
father,  and  to  this  son,  as  numerous  portraits  prove  (one  of  the  most 
beautiful  of  which  with  the  companion  portrait  of  his  wife  is  lent  by 
Mr.  Altman),  the  master  clung  with  touching  affection.  He,  too, 
died,  a  year  before  his  father,  having  married  but  a  short  time  pre* 
viously. 

From  Rembrandt's  portraits  of  strangers  we  obtain  a  further 
insight  into  his  relations  with  the  outer  world.  "We  have,  in  the 
first  place,  several  belonging  to  his  early  Amsterdam  period  (1631s 
1633),  namely,  those  belonging  to  Mrs.  Jesup  and  the  Historical 
Society,  the  important  head  lent  by  Mr.  Ellsworth,  and  the  portrait 
of  Nicolaes  Ruts  owned  by  Mr.  Morgan,  in  which  Rembrandt  has 
given  us  clear  and  objective  likenesses  of  his  sitters.  At  this  period  the 
master  was  occupying  the  role  of  fashionable  painter,  and  in  defers 
ence  to  the  wishes  of  his  patrons  and  in  his  own  interest  had  to  efface 
much  of  his  originality  of  temperament.  Nevertheless  these  simple 
paintings,  with  their  pregnant  characterization  and  intensity  of  exs 
pression,  outrank  by  far  the  contemporaneous  works  of  de  Keyser 
and  Mierevelt,  though  frequently  similar  to  them  in  arrangement. 
During  the  following  three  or  four  years,  occasionally  earlier,  in 
works  where  he  had  a  freer  hand,  this  suppressed  originality  of 
temperament  asserts  itself  strongly  in  the  vivacity  of  action  which 
he  lends  to  his  models.  This  was  the  period  -when,  full  of  the  confi- 
dence of  a  young  conqueror,  he  wished  in  intensity  and  animation 
to  equal  the -works  of  Rubens  and  Frans  Hals.  This  powerful  pathos 
is  displayed  in  the  gorgeously  colored  "Noble  Slav"  from  theW.  K. 
Vanderbilt  collection,  one  of  the  most  imposing  works  achieved  by 
him  during  that  period.  In  another  painting,  dated  1634,  belongs 
ing  to  Mr.  Mortimer,  he  endeavors  to  heighten  the  expressiveness 

10 


through  the  introduction  of  an  almost  genre4ike  motive.  This  pre* 
occupation  with  the  dramatic  -was  followed  in  the  Beginning  of  the 
forties  by  a  period  of  inspired  quiet,  characterized  by  a  rejection  of  all 
exterior  effects,  and  illustrated  by  such  masterpieces  as  the  "Gilder" 
and  the  "Old  Woman"  of  the  Havemeyer  collection,  works  which 
in  technical  perfection  and  the  manipulation  of  light  and  shadow 
stand  unsurpassed.  The  simple  conception  and  arrangement  of  his 
subjects,  which  he  had  affected  until  that  period,  were  supplanted  in 
the  course  of  the  forties  by  a  poetic  and  inspired  delineation.  The 
pinnacle  of  this  style  was  reached  about  1650,  from  -which  period 
date  the  "Good  Samaritan"  in  the  Louvre  and  "Daniel's  Vision"  in 
Berlin.  To  this  period  belong  the  two  portraits  of  artists  owned  by 
Mr.  Frick  and  Mr.  Morgan,  and  Mrs.  Huntington's  portrait  of  a 
savant,  works  to  -which  the  master  has  lent  so  great  a  part  of  his  own 
romantic  sensibilities,  or  discerned  so  much  in  his  subjects,  that  we 
may  well  ascribe  poetic  gifts  to  these  possibly  simple  natures. 

During  the  fifties,  this  gracious  mood  gave  way  to  one  of  touching 
melancholy  and  reflectiveness,  especially  in  the  studies  ofheads — the 
"Old  Man,"  lent  by  Mr.  Slater,  for  example — which  were  perhaps 
clearer  revelations  of  the  artist's  soul  than  his  finished  works ;  and 
finally,  in  the  last  decade,  a  resigned,  somewhat  rigid  earnestness  per* 
vaded  his  works,  -which  were  clothed  in  broad  majesty  of  form.  In 
these  final  -works  Rembrandt  rejected  all  elaboration  of  pose.  The 
figures  are  generally  depicted  facing  the  spectator ;  the  artist  no  longer 
seeks  to  make  the  attitude  expressive  of  the  temperament  of  his 
subject,  and  the  gaze  seems  veiled  and  uniform.  But  some  secret 
charm  resides  in  these  paintings.  It  is  as  though  the  soul  imprisoned 
in  gloomy  depths  pursues  under  their  cover  a  far-away  and  mys* 
terious  existence. 

Rembrandt's  skill  in  composition  is  displayed  in  only  two  or  three 
-works.  One ofthese,  however,  "The  Finding  ofMoses,"is  splendidly 
illustrative  of  his  gift  in  this  direction.  Into  a  small  compass  he  has 
compressed  a  -work  of  Oriental  fantasy  and  splendor.  The  figures, 
in  themselves  of  no  great  charm,  are  so  transfigured  by  the  lighting 
and  the  natural  beauty  of  the  scene  in  which  they  stand  that  they 
seem  to  us  like  some  tale  from  the  "Arabian  Nights."  Comparing 

11 


this  work  with  the  so«called  "Sibyl"  owned  by  Mr.  Davis  and  the 
"Lucretia"  of  thirty  years  later  in  Mr.  Borden's  collection,  one 
scarcely  recognizes  the  hand.  In  the  early  work  there  is  still  an  echo 
of  the  miniature4ike  finish  of  the  Leyden  School ;  in  the  later,  broad, 
free  brush-work  directness  of  representation  and  concentration  on 
one  figure — it  might  even  be  said  on  the  expressive  features  of  one 
figure — which  sufficed  to  relate  the  whole  story.  How  marvelously 
the  sorrow,  the  very  passing  of  the  soul,  are  portrayed  in  Lucretias 
swimming  eyes  and  slightly  ^parted  lips,  and  how  subtile  are  the  smiles 
that  play  over  the  shadowed  face  of  the  Sibyl.  The  art  of  breathing 
the  divine  spirit  of  genius  upon  what  in  itself  is  ordinary  is  the  only 
characteristic  common  to  both  the  early  and  the  late  work ;  for  Rem= 
brandt  painted  with  a  sympathetic  understanding  of  the  pathos 
and  mystery  of  human  life  that — as  in  the  case  of  these  two  pictures 
where  everyday  models  were  used — raised  his  subject  to  a  higher 
plane  without  depriving  it  of  its  own  individuality. 

The  school  of  Rembrandt  is  represented  satisfactorily  by  works 
of  three  of  his  best  pupils — Philips  Koninck,  the  landscapist,  Nicolaes 
Maes,  the  genre  and  portrait  painter  and  Ferdinand  Bol,  who  most 
successfully  imitated  his  master  in  his  early  portraits  such  as  the 
painting  lent  by  Mr.  Davis.  The  delightful  landscape  owned  by  Sir 
William  van  Home  shows  how  closely  Koninck's  work  was  re? 
lated  to  that  of  the  master  himself,  forming  a  link  in  the  chain  which 
connects  Rembrandt  with  the  great  English  masters,  Turner  and 
Constable.  He  has  the  concentrated,  glowing  light  of  the  Rembrandt 
pictures,  but,  contrary  to  the  master,  he  does  not  confine  himself  to 
ideal  landscape,  depicting  the  flat  lowland  scenery,  and  perfecting, 
as  van  Goyen's  successor  in  this  field,  the  manner  of  that  earlier  mas* 
ter.  In  much  the  same  manner  Maes,  through  lack  of  imaginative 
power,  was  constrained  in  his  compositions  to  follow  reality  much 
more  closely  than  Rembrandt.  He  approached  him  more  nearly 
in  his  early -works,  the  richlyscolored  study  of  an  "Old  Woman," 
owned  by  Mr.  Johnson,  for  example.  In  his  later  period  he  fell  quite 
under  the  influence  of  the  French  school  and  seldom  again  attained 
the  mastery  displayed  in  the  portrait  lent  by  Mr.  Adams. 

It  seems  as  though  in  Rembrandt's  time  innumerable  artists  of 

12 


prominence  arose  as  at  one  stroke,  surrounding  the  master  like  a 
following  of  nobles  about  their  chief.  The  crowning  point  of  Dutch 
art  "was  reached  during  the  years  1650*1665.  It  was  during  this  period 
that  almost  all  the  masterpieces  of  Pieter  de  Hooch,  Meindert  Hob* 
bema,  Jacob  van  Ruisdael,  JanVermeer,  Gerard  Terborch,  and  last, 
but  not  least,  a  great  part  of  those  of  Rembrandt  and  the  aging  Frans 
Hals,  were  painted.  All  the  masters  of  this  period  strove  to  attain  a 
more  highly*poetical  expression  in  so  far  as  their  characteristic  real* 
ism  permitted.  The  fresh  actuality  and  audacity  of  the  Hals  period 
were  replaced  by  the  contemplative,  quiet  and  more  spiritualized 
conception  of  a  quiet  civic  community  enjoying  the  firuitsofits  newly? 
won  peace.  Every  stratum  of  this  civic  society  found  its  illustrator; 
all  types  of  painting  were  represented  by  masters  of  first  merit. 
Among  them  genre  subjects  should  perhaps  receive  our  first  con* 
sideration. 

Gerard  Terborch  is  the  exponent  of  the  more  aristocratic  circles 
of  Dutch  society,  a  master  with  a  delicate  color  sense  and  most  sensi* 
tive  hand.  The  portraits  lent  by  Senator  Clark  and  Mr.  Frick  are 
examples  o£  his  strange  portraiture,  in  which  his  model,  cleverly 
silhouetted  at  full  length  and  in  small  proportion,  is  placed  in  spacious 
surroundings;  while  his  refined  and  distinguished  genre  painting  is 
illustrated  by  the  works  lent  by  Messrs.  Borden  and  Johnson.  In  the 
latter  work,  one  of  his  masterpieces,  Terborch  employs  a  motive  of 
the  Frans  Hals  school,  the  glorification  of  the  soldier's  life,  but  with 
a  vast  difference  from  those  older  and  rougher  pictures  with  their 
studied  arrangement  and  rude  technique.  Here  the  cool  gray  tones 
are  finely  harmonized,  the  figures  surrounded  by  delicate  lights  and 
shadows,  and  their  costumes  depicted  -with  an  exquisite  feeling  for 
shimmering  surfaces. 

Gabriel  Metsu,  who  sought  his  subjects  among  the  middle  classes, 
approaches  Terborch  in  refinement  of  execution  and  charm  of  color. 
His  artistic  talent  developed  early  and  he  died  while  still  young.  At 
fifteen  years  of  age  he  became  a  member  o£  the  Guild  of  Painters. 
This  youthfulness  is  discernible  in  his  works.  They  have  a  fresh, 
romantic  swing,  that  is  often  a  little  too  impetuous,  for  instance  in  the 
picture  owned  by  the  Museum.  Metsu  affected  rich,  fiery  colors  far 

J3 


more  than  the  sedate,  cooler  Terborch.  The  colors  are  extraordinarily 
luminous,  especially  the  red,  in  his  well*known  masterpiece,  "The 
Visit  to  the  Nursery,"  formerly  in  the  Kann  collection,  now  owned 
by  Mr.  Morgan;  in  fact,  the  whole  color*scheme  is  deliciously  fresh 
and  light.  The  storytelling  subject  in  this  work  is  so  cleverly  chosen 
and  graciously  executed  that  few  Dutch  genre  pictures  can  be  com; 
pared  with  it.  The  artist  is,  above  all,  animated  by  the  dramatic 
spirit,  and  is,  for  a  Dutchman,  of  an  unusually  emotional  nature. 

Pieter  de  Hooch,  the  third  great  portrayer  of  Dutch  life,  is  of  a 
slower,  more  earnest  temperament.  He  developed  from  small  begin* 
nings,  originally  painting  military  scenes  as  did  Terborch,  and  his 
art  early  lost  in  power,  partly,  no  doubt,  as  a  result  of  the  narrow 
circumstances  in  which  he  lived.  He  was  a  valet  by  calling  and 
painted  his  pictures  for  a  few  guilders  without  receiving  much  recog* 
nition  or  encouragement.  During  the  ten  years  of  his  best  period, 
however,  he  painted  works  which  rank  with  the  finest  achieve* 
ments  of  Dutch  art.  He  is  exceedingly  well  represented  in  the  exhi* 
bition  by  four  works  of  this  period,  three  interiors  and  one  outdoor 
scene.  Mr.  Borden's  picture  alone  is  in  his  later  manner.  It  is, 
however,  a  fine  example  of  a  period  when  his  compositions,  drawn 
from  more  aristocratic  circles,  were  apt  to  be  overcrowded  and  were 
somewhat  hard  and  black  in  the  shadows.  The  picture  lent  by  Mrs. 
Havemeyer  is  one  of  the  most  finished  works  of  the  artist's  best 
period,  unexcelled  in  its  warmth  and  glow  of  color,  and  the  render* 
ing  of  the  sunlight  which  floods  the  room.  In  the  two  other  interiors, 
Mr.  Blodgett's  and  Mr.  V/idener's,  he  has  introduced  a  double  play 
o£  light.  The  bedroom  scene  lent  by  Mr.  Widener  shows  one  of 
those  charming  glimpses  of  a  courtyard  which  are  so  characteristic 
of  de  Hooch.  In  his  outdoor  scenes,  as  well  as  in  the  interiors,  he 
contents  himself  with  few  figures — a  mother  and  child,  for  instance, 
in  which  his  wife  and  little  daughter  may  be  recognized — and  con* 
centrates  all  his  art  in  rendering  the  play  of  light  and  shadow,  against 
which  the  few  colors  employed  in  the  costumes  stand  out  glowingly . 

In  conjunction  with  Terborch,  Metsu,  and  de  Hooch,  who  may 
be  termed  the  delineators  of  the  upper  classes  of  society,  stand  Jan 
Steen  and  the  two  Ostades,  who  turned  their  attention  to  the  illus* 

14 


tration  of  peasant  life  and  the  humbler  citizens.  Next  to  Rembrandt, 
Jan  Steen  is  more  richly  endowed  witb  imagination  tkan  any  otker 
artist  of  the  Dutch  school.  The  inventive  faculty  displayed  in  his 
works,  of  which  more  than  eight  hundred  survive,  seems  inexhaust* 
ible .  His  is  a  nature  bubbling  over  with  high  spirits,  delightful  humor 
and  carelessness.  His  wealth  of  fancies  reminds  one  of  the  Shake* 
spear ean  comedies,  to  which  he  seems  unconsciously  to  have  supplied 
illustrations.  His  quick  manner  of  working  did  not  always  result 
happily.  Sometimes  he  fails  completely,  at  others  executes  works  of 
the  highest  perfection.  In  these  he  displays  himself  as  a  wonderful 
colorist,  tuning  his  composition  to  a  key  of  rich,  glowing  color,  or, 
more  in  the  manner  of  the  Dutch  school,  harmonizing  it  delicately 
in  one  tone.  Mr.  Johnson's  "Grace  Before  Meat,"  built  on  a  scale  of 
delicate  gray  and  pale  violet  harmonies,  is  an  example  of  this  latter 
class  and  shows  the  artist  in  the  role  of  an  earnest,  kindly  observer 
of  family  life.  Contrasted  with  this  picture  are  the  examples  lent  by 
Mr .  Widener  and  Mr.  Schwab,  showing  him  in  a  mood  of  rollicking 
abandon,  reveling  in  bright,  gay  color.  It  is  remarkable  that  with 
all  his  wealth  of  fancy  he  is  always  primarily  an  artist,  equaling 
Terborch  in  his  rendering  of  fabrics,  rivaling  van  Goyen  in  his  land* 
scape  backgrounds,  while  his  still  life  is  unexcelled  by  the  best  ex* 
ponents  of  that  form. 

In  inventive  faculty  the  Ostades  cannot  be  compared  to  Jan  Steen. 
Adriaen,  especially,  who  is  the  public's  favorite,  repeats  over  and 
over  again  his  comfortable,  round-headed,  thick*nosed  peasants,  and 
never  quite  shakes  himself  free  from  a  somewhat  Philistine  atmos* 
phere,  except  in  his  youth,  -when,  in  imitation  of  Brouwer,  he  was 
particularly  exuberant  in  manner.  In  him  genius  is  replaced  by  a 
loving  and  careful  execution;  he  pleases  by  his  choice  of  winning 
motives  and  the  cheerful,  peaceful  mood  in  which  all  his  -works  are 
conceived.  He  portrays,  as  a  rule,  the  joys  of  family  life,  the  bless* 
ings  of  labor,  or  occasionally  the  conviviality  of  the  inn,  all  in  a  quiet, 
temperate  mood,  and  characterized  by  a  fine  feeling  for  color  and  close 
observation  of  the  interior  play  of  light.  The  two  pictures  which 
represent  him  in  the  exhibition  were  painted  thirty  years  apart. 
The  earlier,  belonging  to  the  Museum,  and,  for  Ostade,  a  painting 

r5 


of  unusually  large  compass,  was  painted  during  the  period  of  his 
transition  from  his  earlier  style  to  one  arrived  at  under  the  influence 
of  Rembrandt.  The  figures  are  still  rough,  Brouwer4ike  types  of 
rude  character,  but  a  rich  golden  tone  predominates  to  which  the 
local  color  is  subordinated,  and  there  is  a  concentrated,  Rembrandt* 
like  fall  of  light. 

The  famous  painting  belonging  to  Mr.  Widener,  formerly  in  the 
collection  of  Lord  F.  Pelham  Clinton  Hope  (which  was  peculiarly 
rich  in  masterpieces  of  the  Dutch  school),  is  a  late  work,  dated  1673, 
one  of  the  latest  pictures  included  in  the  exhibition,  and  belonging  in 
reality  to  the  third  period  of  Dutch  art.  It  has  the  cool  smooth  colors — 
a  fine  graysblue  predominates — and  silvery  daylight  of  that  period. 
In  it  the  artist  displays  a  restrained  perfection  and  clever  arrange* 
ment  of  the  few  figures,  which  are  rendered  with  delicate  care  and 
enameklike  color. 

Adriaen's  younger  brother  Isack,  who  died  young,  was  for  a  long 
time  overshadowed  by  him.  He  is,  however,  in  his  best  works  quite 
equal  if  not  superior  to  his  elder  brother.  He  naturally  does  not  dis* 
play  so  varied  a  development  as  was  attained  byAdriaen  during  his 
long  life.  His  favorite  theme  is  a  traveler  halting  for  rest,  generally 
on  a  country  road  and  with  a  white  horse.  He  also  painted  very 
successful  winter  scenes.  He  was  of  a  more  poetic  and  romantic 
nature  than  Adriaen,  as  the  artistic  nature  of  the  costumes  he  depicts 
alone  would  demonstrate,  and  his  glowing,  deep  gold  tones  are  more 
closely  allied  to  the  Rembrandt  school.  His  art,  so  splendidly  repre? 
sented  in  England,  is  little  met  with  in  this  country.  Mr.  ^Videner's 
picture  is  in  his  best  manner,  and  charms  us  by  its  flickering  play 
of  afternoon  light  in  the  foliage  of  the  background  and  among  the 
numerous  figures  on  the  village  street. 

Landscape  painting,  too,  reached  in  Rembrandt's  period  its  highest 
perfection  at  the  hands  of  Jacob  van  Ruisdael,  nephew  of  the  older 
master,  Salomon  Ruysdael,  and  Meindert  Hobbema,  who  was  Ruis* 
daels  pupil.  A  worthy  representation  of  these  masters  is  of  special 
interest  in  America,  showing  as  they  do  how  much  the  older  English 
masters  and  the  Barbizon  school,  both  so  well  represented  in  this 
country,  owe  to  their  inspiration. 

16 


Jacob  van  Ruisdael  is  by  far  tbe  most  many=sided  of  tbe  Dutcb 
landscapists,  bringing  to  a  riper  perfection  tbe  different  types  of 
landscape  essayed  by  tbe  masters  of  an  earlier  generation — lowland, 
forest,  winter  scenes  and  marines.  Altbougb  more  varied  tban  Hob* 
bema,  be  scarcely  fascinates  us  so  mucb  at  first  glance,  concealing  as 
be  does  bis  personality  bebind  tbe  strict  objectivity  of  bis  studies  of 
nature.  Tben,  too,  tbe  numerous  works  of  bis  later  period,  tbe  water* 
falls  and  nortberly  mountain  landscapes  witb  tbeir  black  sbadows, 
bave  detracted  from  bis  fame.  Tbe  artist,  wbo  nearly  starved  to 
deatb,  found  in  tbese  artificial  scenes,  wbicb  were  popular  witb  tbe 
public,  tbe  easiest  way  of  earning  bis  bread.  A  nearer  inspection  of 
bis  many  works  reveals,  bowever,  a  powerful  if  retiring  individu* 
ality.  He  bows  before  tbe  majesty  of  nature,  and  tbis  perception  o£ 
ber  migbty  forms  is  visible  in  all  bis  works — in  tbe  giant  treestrunks 
of  ancient  -woods,  in  tbe  soaring  cliffs  over  wbicb  tbe  mountain  tor* 
rent  precipitates  itself,  in  tbe  dark  clouds  massing  before  a  storm,  or 
in  tbe  farsreacbing  lowlands  over  wbicb  cloud  sbadows  are  bover* 
ing.  His  landscapes  are  all  toucbedwitbmelancboly.  Tbey  speak  of 
tbe  past,  tbese  sbattered  oak*trees,  mountain  ruins  and  deserted  buts, 
and  of  man's  subdual  at  tbe  bands  of  tbe  elements,  sbowing  bim 
burrying  tbrougb  tbe  sbadows  over  perilous  bridges,  or  in  tbe  dreary 
deptbs  of  tbe  forest,  witb  an  eternally  frowning  sky  above  bim. 

Ruisdaels  tecbnique  is  of  a  solid,  consistent  texture,  more  "worked 
out  tban  Hobbema's  more  liquid  brusb*work.  He  began  -witb  simple 
pictures  of  tbe  country  around  Haarlem,  a  couple  of  tree*sbaded  cot* 
tages,  or  a  road  beside  tbe  dunes,  more  or  less  in  tbe  manner  of  tbe 
earlier  masters,  but  cbaracteriz-ed  from  tbe  first  by  greater  sbarpness 
of  detail,  a  more  sculptural  feeling,  stronger  contrasts  of  ligbt  and 
sbadow,  and  more  sense  of  distance.  Tbe  pictures  lent  by  Mr.  Mors 
gan  and  Mrs.  Simpson  are  excellent  examples  of  tbis  early  manner. 
Later  be  devoted  bimself  cbiefly  to  depicting  forest  scenery,  wbicb 
before  bis  time -was  practically  neglected.  In  sucb  pictures  be  neces* 
sarily  reveals  a  large  part  of  bis  own  poetic  nature,  for  Holland  and 
especially  tbe  neigbborbood  of  Haarlem,  wbere  Ruisdael  lived,  is 
but  sparsely  wooded,  and  be  -was  obliged  to  go  to  Guelderland  and 
towards  tbe  German  frontier  to  make  bis  studies,  creating  bis  com* 

J7 


positions  upon  his  return  home.  The  works  produced  during  the 
sixties  show  an  especially  happy  union  of  his  own  personality 
■with  the  impressions  he  absorbed.  The  large  forest  scenes  owned  by 
the  Museum,  Senator  Clark  and  Mr.  de  Forest  belong  to  this  period, 
as  do  the  three  masterpieces  depicting  the  country  around  Haarlem, 
which  are  expressive  of  a  deeply  personal  mood:  the  "Dunes  near 
Haarlem"  owned  by  Mr.  Slater,  the  "Winter  Landscape"  in  the 
collection  of  Mr.  Johnson,  which  is  one  of  the  most  beautiful  land* 
scapes  of  the  Dutch  school,  and  the  stormy  sea  owned  by  Mr.  Ross. 
Towards  the  end  of  the  sixties,  the  artist,  in  an  effort  to  render  his 
■work  still  more  effective,  became  interested  in  mountain  scenery, 
-with  -which  he  himself  was  almost  totally  unfamiliar,  knowing  it 
only  through  sketches  made  by  his  teacher,  Allaert  van  Everdingen, 
-who  had  visited  Norway.  One  is  astounded  at  the  adaptability  and 
imaginative  power  with  which  Ruisdael  transplanted  himself  to  this 
unknown  world,  and  his  earlier  -works  in  this  manner,  which  still 
belong  to  his  good  period,  combine  realism  -with  poetic  and  heroic 
feeling.  The  works  lent  by  Messrs.  Borden  and  Frick  and  Mrs. 
Huntington  come  under  this  category. 

Meindert  Hobbema,  -who  in  his  early  development  was  strongly 
under  the  influence  of  Ruisdael,  stands  out  in  strong  contrast  to  him. 
His  temperament  was  cheerful  and  lively ;  he  seems  to  have  worked 
more  quickly  than  Ruisdael,  and  in  his  inspired  moods  painted  pic? 
tures  of  great  perfection.  The  Holford  picture  lent  by  Mr.  Morgan, 
and  that  from  the  collection  of  Mrs.  Elkins,  may  be  numbered  among 
the  finest  landscapes  of  the  Dutch  school,  unsurpassed  in  their  light 
and  their  warmth  of  tone,  in  the  minutelysobserved  play  of  light  and 
shadow  in  the  foliage  and  variegated  green  of  trees  and  grass.  Hobs 
bema's  landscapes  have  a  Sabbathslike  repose  and  beauty,  inviting 
the  beholder  to  transplant  himself  in  spirit  beneath  the  trees  of  their 
shady,  -winding  walks.  Their  facility  of  execution,  too,  lends  to  them 
the  freshness  of  a  newly  painted  -work.  The  artist  confined  himself 
to  a  restricted  field,  choosing  generally  an  open,  wooded  landscape 
crossed  by  a  small  sheet  of  water,  a  mill-stream  or  a  couple  of  winds 
ing  paths,  and  generally  repeating  the  same  arrangement — a  tall 
group  of  trees  -whose  silhouette  is  balanced  on  the  other  side  by  a 

18 


smaller  group  standing  farther  in  the  background,  so  that  there 
results  as  upper  contour  aflat  diagonal  curve,  typical  of  the  Baroque 
style.  This  diagonal  arrangement  was  employed  by  van  Goyen  and 
the  earlier  landscapists,  but  a  comparison  with  Hobbema's  work 
reveals  the  darker  side  of  the  picture  as  much  emptier  in  their  case, 
the  later  master  preoccupying  himself  more  with  the  filling  of  this 
plane. 

Jan  van  der  Heyden  stands  related  to  Aert  van  der  Neer,  an  artist 
of  the  foregoing  period,  in  the  similarity  of  their  conception,  although 
they  differed  widely  in  their  choice  of  subject — van  der  Heyden 
restricting  himself  to  the  portrayal  of  buildings  and  architectural 
views.  Both  are  characterized  by  a  typically*Dutch  love  of  detail,  to 
the  delineation  of  which  they  bring  as  much  love  and  interest  as 
they  expend  upon  the  larger  forms.  This  peculiarity  of  the  Dutch 
painters,  which  seems  consistent  with  the  smallness  of  their  native 
land  and  the  narrow  circumstances  in  which  most  of  them  lived, 
was  already  discernible  in  the  Fifteenth  Century,  beginning  with 
the  art  o£  the  van  Eycks,  who  were  of  Dutch  origin,  and  in  the 
Seventeenth  Century  is  but  an  unconscious  perpetuation  of  their 
manner.  It  was  not  given  to  all  the  Dutch  artists  to  combine  this 
care  for  detail  with  a  sure  feeling  for  the  whole,  but  van  der  Heyden 
was  among  the  fortunate  exceptions.  The  admirable  work  owned 
by  Mr.  Davis  shows  his  love  of  detail  in  the  perfecting  of  every  little 
brick  in  the  wall,  'while  he  by  no  means  sacrifices  the  general  har* 
mony,  presenting  a  firm,  well*balanced  architectural  composition. 

No  inconsiderable  part  of  the  happiest  achievements  in  Dutch 
landscape  painting  was  the  result  less  of  the  direct  study  of  nature 
than  of  the  yearning  to  depict  scenery  with -which  the  artist  was  not 
daily  familiar,  as  evinced  in  the  portrayal  of  woodland  scenes.  In  this 
manner  Cuyp  and  a  -whole  group  of  artists  painted  landscapes  of  an 
Italian  character  through  their  longing  for  more  smiling  skies  -which 
they  had  perhaps  never,  or  at  best  only  fleetingly,  known.  This 
very  personal  mood,  -which  completely  pervades  Aelbert  Cuyp's 
pictures,  stands  very  close  to  our  modern  spirit.  His  subjects  are  of 
the  utmost  simplicity,  often  even  prosaic — a  view  of  the  Maas  with 
a  couple  of  sail  boats  and  a  lofty  sky,  or  a  meadow  -with  cows  at 

x9 


pasture.  But  these  wide,  empty  spaces  are  a  domain  for  his  poetry 
and  dreams.  He  has  lost  sight  of  detail  and  of  the  material  side,  seeing 
only  the  irradiating  light  that  floods  this  modest  corner  of  the  earth 
with  a  golden  evening  glow,  transforming  it  into  a  domain  of  happi= 
ness  and  peace.  His  art  is  a  lesson  in  masterly  restraint.  All  his  life 
long  the  artist  confined  himself  to  painting  this  sunset  hour.  He 
would  have  wearied  of  it  soon  had  he  not  interwoven  in  the  scene 
the  thousand  transforming  moods  which  nature  then  wears,  lending 
to  it  an  inexhaustible  and  varying  charm.  What  a  contrast  between 
the  wonderful  distance  in  the  view  of  the  Maas  lent  by  Mr.  Frick, 
and  the  homely,  narrow  dune  road  with  its  snuglysnestling  village 
in  the  little  picture  belonging  to  Senator  Clark,  or,  again,  in  the  neg; 
ligent,  admirablysplaced  group  of  fowls  in  Mr.  Johnson's  picture ! 
Cuyp  was  a  dreamer  o(  phlegmatic  temperament.  He  depicts  his 
figures  and  animals  reposing  in  harmony  with  their  silent,  peaceful 
surroundings.  His  shepherd  lads  are  at  rest,  the  cattle  idly  grazing, 
the  rider  halts  for  repose.  Still  life  was  therefore  a  natural  field  for 
his  powers,  although,  unlike  the  other  still  life  painters,  he  arranges 
his  whole  composition  in  one  tone,  as  exemplified  in  Mr.  Johnson's 
picture,  the  still  life  with  "Peaches."  His  development  was  slow", 
but  marked  by  distinct  stages  which  may  be  followed  in  the  pictures 
here  exhibited.  His  early  landscapes  are  reminiscent  of  van  Goyen. 
He  painted  lowland  scenes  in  pale  colors,  which,  however,  in  their 
harmonious  simplicity,  excelled  those  of  the  older  master.  The 
charming  "Village  on  the  Dunes,"  belonging  to  Senator  Clark,  and 
Mrs.  Huntington's  "Piping  Shepherds"  belong  to  this  period.  The 
middle  period,  in  which  he  produced  his  masterpieces,  is  represented 
by  the  landscapes  lent  by  Messrs.  Morgan,  Frick,  and  Gould.  Later  he 
shared  Ruisdael's  dissatisfaction  with  his  native  scenery.  His  Souths 
ern  skies  demanded  Southern  surroundings,  and  he  introduced  cliffs 
and  occasionally  fantastic  ruins  and  bridges  reminiscent  of  the  Ro= 
man  Campagna.  The  picture  lent  by  Mrs.  Simpson  is  an  excellent 
example  of  this  manner. 

Cuyp  is  generally  designated  as  a  cattle  painter,  in  company  with 
Paulus  Potter  and  Adriaen  van  de  Velde.  While  Cuyp,  however, 
characteristically  subordinates  his  cattle  to  the  general  harmony  of 

20 


the  scene,  Potter  devotes  the  closest  attention  to  each  animal,  neg* 
lecting  occasionally,  in  his  love  of  detail — especially  in  his  larger 
pictures  like  "The  Bull"  at  the  Hague — to  observe  sufficiently  the 
harmony  of  the  whole.  He  studies  individualities  so  closely  that  he 
may  actually  be  termed  a  painter  of  animal  portraits,  depicting  mar* 
velously  their  sculptural  quality  and  the  texture  of  their  hides.  With 
this  unbiased  rendering,  he  is  probably  more  sensitive  than  the  other 
artists  of  his  time  to  the  plein=air  effect  of  cattle  at  pasture.  This  is 
well  shown  in  the  admirable  painting  owned  by  Mrs.  Elkins  and  in 
Mr.  Hirsch's  cattle  scene,  which  is  a  smaller  variant  o£  the  Hague 
"Bull." 

It  is  instructive  to  compare  with  Cuyp's  and  Potter's  cattle  the 
animals  by  Adriaen  van  de  Velde  shown  in  Mr.  Johnson's  important 
painting  and  the  bull  painted  by  this  artist  in  Jan  van  der  Heyden's 
street  scene  from  the  collection  of  Mr.  Blodgett.  In  this  painting 
Adriaen  van  de  Velde  is,  above  all,  preoccupied  in  depicting  the  play 
of  light  on  the  silky  velvet  of  the  animal's  hide,  subordinating  it  at 
the  same  time,  with  more  suppleness  than  Potter  displayed,  to  the 
general  scheme  of  the  painting.  He  was,  in  fact,  the  most  adaptable 
of  Dutch  animal  painters,  lending  his  gracious  art  to  the  enrichment 
of  landscapes  by  other  masters  and  attuning  his  contribution  in  an 
invariably  just  proportion  to  the  general  pictorial  scheme.  The  Hoi* 
ford  landscape  by  Hobbema,  owned  by  Mr.  Morgan,  with  cattle 
and  figures  by  van  de  Velde  in  the  foreground,  is  a  fine  example  of 
this  cooperation. 

Marine  painting,  so  important  for  our  exhibition,  hardly  occupied 
the  place  in  Dutch  art  that  the  role  played  by  the  sea  in  the  nation's 
life  would  seem  to  claim  for  it.  This  is  perhaps  due  to  the  fact  that 
most  of  the  artists  lived  in  Binnenland,  the  sea  being  there  too  near  at 
hand,  perhaps,  to  become,  as  did  mountain  scenery,  for  example,  the 
object  of  their  dreams.  V/e  miss,  too,  that  larger  mood  -which  wide, 
uninhabited  spaces  inspire  in  the  modern  spirit.  The  love  of  detail 
characteristic  of  the  Dutch  artist  led  him  here  to  devote  a  penetrating 
attention  to  each  individual  part  of  the  picture.  He  introduced,  if 
the  spaces  seemed  too  wide,  boats,  men,  or  a  glimpse  of  busy  shore, 
all  depicted  in  a  realistic,  unimpassioned  manner,  that  does  not  rise 

21 


above  actualities.  Real  marines  are  rare.  In  most  of  the  so-called  sea 
pictures  there  is  a  glimpse  of  land  on  one  side  or  the  other,  or  in  the 
background,  suggesting  that  the  subject  may  be  some  broad  Dutch 
canal,  a  glimpse  of  the  Maas  or  of  the  Zuyder  Zee.  The  ocean's 
stormy  moods,  which  found  in  Rubens'  impressionable  Flemish  tern* 
perament  so  fine  an  exponent,  were  alien  to  the  quiet,  placid  Dutch 
nature.  With  one  notable  exception,  Jacob  van  Ruisdael,  Dutch 
painters  all  present  the  ocean  in  its  moments  of  placid  calm,  with  a 
somewhat  concentrated  light,  more  reminiscent,  occasionally,  of  an 
interior  than  of  outdoors. 

Simon  de  Vlieger,  of  the  older  generation  of  Frans  Hals  and  van 
Goyen,  is  represented  by  a  little  picture  belonging  to  the  Museum, 
which  has  the  silverysgray  tones  and  fine  atmospheric  shading  of 
those  earlier  masters.  From  this  simple  realism  developed  the  art 
of  Jan  van  de  Capelle  and  Willem  van  de  Velde  the  younger,  the 
two  most  famous  Dutch  sea  painters.  To  these  the  name  of  Jacob 
van  Ruisdael  should  be  added  by  right  of  his  few  noteworthy  pre* 
sentations  of  storm  scenes. 

V/illem  van  de  Velde  received  commissions  from  the  British 
government  to  paint  battleships  or  pictures  commemorative  of  sea 
fights,  and  it  is  due  to  this  that  he  at  times  adopted  a  hard,  accurate 
style,  even  in  his  original  compositions.  His  two  exhibited  works 
(Mr.  Borden's  and  Mr.  Blodgett's)  show  him  at  his  best.  The  color* 
scale  is  much  enriched  since  de  Vlieger's  time,  and  the  little  coast 
scene  lent  by  Mr.  Blodgett  expresses  a  more  inspired  mood. 

Jan  van  de  Capelle  is  preeminently  a  master  of  original  genius. 
He  seems  to  have  been  the  first  to  recognize  the  fascination  of  the 
ocean's  endless  spaces  and  the  poetry  of  its  sunset  hour.  The  Dutch 
marine  painters,  like  the  landscapists,  laid  the  foundations  for  the 
ensuing  development  of  their  art.  As  the  distant  vie  ws  of  the  Rem* 
brandt  period  foreshadow  Constable,  and  Hobbema's  forest  scenes 
Crome  and  Rousseau,  Jan  van  de  Capelle  and  Ruisdael,  in  their  ma* 
rine  pictures,  are  the  forerunners  of  Turner,  although  in  the  later 
masters,  in  harmony  with  the  general  artistic  trend  of  their  period, 
we  find  a  more  subjective  mood. 

No  review  of  Dutch  art  -would  be  complete  did  it  not  include 


22 


examples  of  still  life,  in  which  direction,  also,  Holland  laid  the  foun* 
dations  for  succeeding  generations  to  build  upon,  in  this  case  more 
for  the  French  masters  of  the  Eighteenth  and  Nineteenth  Centuries, 
fromChardin  to  Courbet  and  Manet,  than  for  their  English  confreres. 
StilUlife  pictures  do  not,  as  a  rule,  stand  high  in  public  favor.  Perhaps 
their  significance  may  receive  fuller  recognition  when  expressed  by- 
masters  of  such  genius  as  Rembrandt  in  the  "Slaughtered  Ox"  and 
in  Cuyp's  still  life  with  w '  Peaches  "  (both  lent  by  Mr .  Johnson),  which 
latter  seems  prophetic  of  Courbet's  work.  To  these  are  added  works 
by  two  painters,  Willem  Kalf  and  Abraham  van  Beyeren,  who  have 
obtained  recognition  only  in  recent  years.  Now,  however,  they  are 
reckoned  the  best  Dutch  exponents  of  still  life  and  are  ranked  with 
Jan  Davidsz  de  Heem,  the  earliersrecognized  leader  in  this  branch  of 
art.  Kalf  lived  in  Delft,  a  town  which  sheltered  some  of  the  greatest 
Dutch  masters—Jan  Vermeer,  Karel  Fabritius  and  Pieter  de  Hooch 
among  the  number.  Like  them,  he  was  more  preoccupied  than  most 
of  his  contemporaries  in  the  skilful  contrasting  of  a  few  broadly* 
applied  colors,  which  were  in  turn  subordinated  to  a  stronglyscon* 
centrated  lighting.  Like  them,  again,  he  rejected  all  petty  detail,  and, 
in  spite  of  his  individuality,  was  strongly  influenced  by  Rembrandt. 
This  influence  is  discernible  in  the  large  painting  lent  by  Mr  Johnson, 
which  is  at  the  same  time,  in  the  color  and  in  the  treatment  of  the  rug 
and  porcelain,  reminiscent  of  Vermeer. 

^Vhile  Kalf  is  more  preoccupied  with  color  contrasts,  van  Bey* 
eren  is  a  master  of  tone  gradations.  In  the  fine  painting  lent  by  Mrs. 
Elkins  the  rich  profusion  of  objects  portrayed  is  subordinated  to  a 
brownish?red  colorsscheme,  which  in  a  single  instance  is  enhanced 
by  a  touch  of  glowing  red.  Van  Beyeren  did  not  confine  himself 
exclusively  to  still  life.  Within  recent  years  a  number  of  excellent 
marines  from  his  brush  have  come  to  light,  one  of  which  is  in  a  private 
collection  in  this  country. 

There  remains  now  for  our  consideration  but  Jan  Vermeer,  a 
master  who  in  himself  alone  represents  a  whole  period  in  the  history 
o£  Dutch  art.  He  is  a  remote  disciple  of  Rembrandt  and  a  pupil  of 
Karel  Fabritius.  His  chief  period  of  production  falls  between  the  years 
1656  and  1675 — not  mucn  later,  therefore,  than  that  of  de  Hooch, 

23 


Hobbema  and  Terborch,  from  whom,  however,  be  differs  by  bis 
more  progressive  style.  He  stands  alone  at  tbe  end  o£  a  period  of  bigb 
achievement,  and  bis  work  is  characterized  by  the  subtlety  that  pre* 
cedes  decay.  In  him  the  tremendous  creative  power  of  the  foregoing 
generation  of  masters  is  a  little  reduced.  None  of  the  great  masters 
previously  considered  left  less  than  two  hundred  works,  Rembrandt 
about  six  hundred  and  fifty;  by  Vermeer,  however,  not  more  than 
thirty=six  are  known.  Then,  again,  his  whole  power  is  concentrated 
in  obtaining  a  perfection  of  surface,  -which  hitherto,  through  absorps 
tion  in  the  matter  portrayed,  had  not  received  this  close  attention. 
In  this  Vermeer  approaches  the  French  Eighteenth  Century  school, 
which  had  its  origin  in  the  same  influences  that  produced  him.  He 
himself  fell  perhaps  a  trifle  under  the  spell  of  contemporary  French 
art,  which  after  his  death  completely  submerged  the  Dutch  school. 
In  his  works  we  find  already  that  smooth  brush-work  and  love  for 
cool,  clear  color  and  the  careful  modeling  which  the  later  academical 
Dutchman  preached  as  alkimportant,  as  opposed  to  the  Rembrandt 
conception.  In  Vermeer's  work,  however,  all  this  is  still  artistically 
transfigured.  At  a  first  glance  there  seems  to  be  nothing  complex. 
His  motives  are  of  the  utmost  simplicity,  differing  little  from  those 
of  other  Dutch  genre  painters,  except  in  a  heightened  simplicity.  In 
most  cases  he  depicts  but  one  figure — the  two  in  Mr.  Frick's  picture 
are  exceptional — occupied  in  some  different  manner — writing  a 
letter,  playing  the  guitar,  embroidering,  or  some  such  homely  task. 
And  these  figures  seem  arranged  according  to  an  almost  invariable 
scheme,  standing  always  in  front  of  a  gray  wall,  near  a  window, 
through  which  the  light  falls  upon  them.  Some  dark  object  in  the 
foreground,  a  table,  chair  or  piece  of  drapery,  provides  the  necessary 
contrast.  The  color*scheme  is  equally  simple.  The  complementary 
colors,  blue  and  yellow,  are  almost  invariably  repeated  against  the 
neutral  gray  of  the  background.  And  yet  these  pictures  are  of  a  far 
more  penetrating  effectiveness  than  any  other  Dutch  genre  paint* 
ings.  One  questions  wherein  this  superiority  lies ;  one  cannot  help 
trying  to  solve  the  secret  of  their  wonderful  art. 

Vermeer 's  figures  wear  a  curious,  inexplicable   expression,  a 
partly  -  veiled  smile  behind  a  sheen  of  light.  His  models  are  unaf= 

24 


fected,  plumpscheeked  Dutch  women,  not  even  intelligent  looking, 
unconsciously  placed  in  a  transfiguring  atmosphere.  Tnis  choice  o£ 
expression,  apparently  simple,  yet  full  of  subtlety,  presupposes  an 
artist  who  had  the  great  masters  Rembrandt  and  Hals  behind  him. 
Frans  Hals  portrayed  fresh  natural  merriment  with  infinite  realism ; 
Rembrandt,  humanity's  deepslying,  inward  griefs.  Vermeer's  fig* 
ures  seem  to  lead  a  detached  existence,  apart  from  joy  or  sorrow. 
They  are  in  themselves  almost  expressionless,  and  only  clothed  in 
a  lovely  outward  sheen  which  touches  their  simple  life  with  mys* 
tery.  There  is  no  deep  spirituality  in  this  art  as  in  Rembrandt's. 
Its  perfection  is  purely  aesthetic  and,  like  all  artificial  and  slightly 
decadent  art,  only  conceivable  within  certain  spiritual  limitations. 

The  wonderful  play  of  light  is  what  most  charms  the  eye  in  Vers 
meer's  work.  It  is  different  from  that  of  Rembrandt,  in  which  it 
found  its  inspiration.  This  light  is  diffuse  and  permeates  the  whole 
room  equally ;  it  is  not  concentrated  like  that  of  Rembrandt,  nor  does 
it  impose  strong  contrasts.  In  Vermeer's  early  work,  the  picture  lent 
by  Mrs.  Huntington,  for  example,  when  he  was  still  frankly  under 
the  influence  of  the  Rembrandt  school,  we  find  rugged  contrasts  of 
light  and  shade.  Later  the  dark,  contrasted  objects  in  the  foreground 
disappear,  and  the  light  loses  some  of  its  golden  "warmth,  taking  on 
the  silvery  sheen  of  early  morning  light.  The  seeming  nearness  of 
the  figures  in  Vermeer's  work  forms  a  curious  contrast  to  the  all* 
pervading  light.  He  must  have  sat  very  close  to  his  model,  so  near 
that  the  foremost  parts  seem  to  project  from  the  canvas,  heightening 
thereby  the  sculptural  effect.  This  plastic  feeling  is  further  accentu* 
ated  by  an  extraordinarily^perfect  modeling  of  light  and  shadow, 
executed  with  a  care  so  minute  that  it  accounts  for  the  length  of  time 
devoted  by  the  master  to  each  canvas. 

In  many  respects  Vermeer  had  more  of  the  modern  spirit  than 
most  of  his  contemporaries — in  the  painting  of  shadow's,  for  instance, 
which  in  his  works  are  blue,  in  contrast  to  the  prevailing  brown. 
His  color*scale,  too,  is  unique  in  Dutch  art,  which  elsewhere  leans 
towards  the  warmer  tones,  enhancing  them  further  by  the  use  of 
red.  Vermeer's  preference  for  blue  has  probably  some  connection 
with  the  coloring  of  Delft  porcelain,  of  which  his  somewhat  glassy 


technique  is  suggestive,  calling  to  mind  the  tradition  that  he  occas 
sionally  turned  his  attention  to  this  industry.  Not  the  smallest  part 
of*  the  charm  of  his  work  lies  in  the  wonderfullysperfect  arrangement 
of  the  few  colors  he  employs,  and  the  manner  in  "which  these  are 
blended  to  a  perfect  harmony.  He  is  unique,  too,  in  his  rejection  of 
all  the  detail  in  -which  contemporary  genre  painters  delighted.  Corns 
pared  with  their  work,  his  canvases  with  their  few  large  surfaces 
seem  empty,  but  the  little  there  depicted  presents  in  its  exquisite 
proportions  an  absolutely  harmonious  whole.  Simplicity  and  con* 
viction,  too,  which  characterize  all  truly  great  work,  are  not  lacking 
in  his. 

The  pictures  exhibited  are  most  satisfactory  examples  of  Ver* 
meer's  art.  There  is  small  variation  of  style  in  the  short  series.  His 
first  period,  examples  of  which  are  also  in  Dresden,  Glasgow  and 
Budapest,  is  represented  in  Mr.  Altaian's  painting ;  and  as  previously 
remarked,  Mrs.  Huntington's  picture  seems  to  be  a  comparatively 
early  work.  Mr.  Johnson's  is  later,  differing  in  the  larger  scale  of  the 
figures .  The  other  three  pictures  were  probably  painted  during  the 
intervening  period. 

In  surveying  the  artistic  achievements  of  the  thirty  years,  during 
which  period  all  the  works  here  exhibited  -were  painted,  one  is 
astounded  at  the  number  of  rarelysgifted  masters  who  arose  in  Hoi* 
land  during  this  short  time ;  at  the  variety  of  types  originated  by  them 
for  the  enrichment  of  future  generations;  at  the  quick  development 
and  at  the  sudden  decay.  There  did  not  exist  several  schools,  as  in 
Italy,  for  instance,  forming  individual  centres  of  artistic  activity ;  the 
country  was  too  small  for  that,  the  towns  lay  too  close  together,  and 
the  restless  artist  folk  lived  first  in  one,  then  in  another.  It  might  be 
described  as  a  number  of  great  personalities  dominating  the  art  of  the 
country  and  rallying  around  them  little  groups  of  minor  masters. 
And  finally  it  became  one  personality  alone  to  whom  all  others  were 
subordinated — Rembrandt.  That  the  traces  of  his  genius  are  every* 
where  to  be  found  lends,  in  spite  of  numerous  strong  individualities, 
a  species  of  unity  to  the  art  of  the  entire  period. 

This  flowering  of  the  country's  genius  is  visible  in  the  industrial 
arts  of  the  period,  as  well  as  in  the  paintings  -which  were  its  choicest 

26 


blossoms.  The  gold  and  silver  smiths  of  the  period  modeled  vessels 
with  tne  strong  Baroque  feeling  for  light  and  shadow,  emulating  the 
painters  from  whom  they  drew  their  inspiration.  One  recalls  Rem* 
brandt's  relations  with  the  famous  goldsmiths  Lutma  and  Eeckhout. 
The  Delft  faience  industry,  which  was  started  in  imitation  of  the 
Chinese  porcelains,  became  shortly  the  most  famous  European  ware 
of  the  period,  unsurpassed  in  the  beauty  of  its  glaze  and  the  depth  of 
of  its  color;  while  the  furniture,  with  its  broad,  solid  lines,  was 
expressive  of  the  comfortable  Dutch  homes,  and  influenced  English 
and  American  furniture. 

It  is  this  richness  of  inner  development  which,  combined  with 
political  and  commercial  strength,  -won  for  Holland  a  position  of 
universal  importance  among  European  powers  in  the  Seventeenth 
Century,  and  enabled  her  to  give  from  her  own  abundance  to  other 
lands,  America  in  particular.  And  these  elements  were  the  fruits  of 
the  highest  period  of  Dutch  culture,  born  of  a  nation's  successful 
struggle  for  independence. 


27 


The  works  of  the  artists  are  arranged  chronologically;  such  arrange* 
ment  is,  however,  naturally  hypothetical  with  artists  who  frequently 
omitted  the  dates,  i.  e.,  Cuyp  and  Vermeer. 

ABBREVIATIONS 

Bode  St.        ...      "W.  Bode :  Studien  zur  Geschichte  der  hollan* 

dischen  Malerei.  Braunschweig,  1883. 

Bode  R.        ...      "W.  Bode  (assisted  by  C.  Hofstede  de  Groot): 

The  Complete  Works  of  Rembrandt.  Paris, 
1897  ff. 

Dutuit    ....      Dutuit:  L'OEuvre  complete  de  Rembrandt. 

Paris,  1883. 

Hofstede  de  Groot.       C.  Hofstede  de  Groot :  A  Catalogue  Raisonne 

of  the  "Works  of  the  Most  Eminent  Dutch 
Painters  of  the  Seventeenth  Century.  Lon* 
don,  1908  ff. 

Klass.  d.  K.        .      .      Rembrandt,  desMeisters  Gemalde  in  643  Ab* 

bildungen.  Klassiker  der  Kunst,  3d  edition, 
by  W.  R.  Valentiner,  Stuttgart,  1909. 

Michel    ....      G.Michel:  Rembrandt,  sa  vie,  son  ozuvre  et 

son  temps.  Paris,  1893. 

Moes      ....      E.^V.  Moes:  Frans  Hals,  sa  vie  et  son  oeuvre. 

Bruxelles,  1909. 

Smith     ....     John  Smith:    A  Catalogue  Raisonne  of  the 

"Works  of  the  Most  Eminent  Dutch,  Flemish 
and  French  Painters.  London,  1829*1842. 

Vosmaer      .      .      .      C.Vosmaer:  Rembrandt,  sa  vie  etsesceuvres. 

Haag,  2d  edition,  1879. 

Waagen      .      .      .      Fr.Waagen:  Works  of  Art  and  Artists  in 

England.  1838  ff. 
29 


CATALOGUE 


NICOLAES  BERCHEM 

BORN  in  Haarlem  in  1620.  Died  at  Amsterdam,  1683. 
Pupil  of  his  father,  of  Jean  Baptise  Weenix  and 
others.  He  prohably  traveled  in  Italy.  Painter  and  etcher 
of  landscapes  and  animals,  mostly  in  the  Italian  manner. 


THE  FORD 

On  the  right  a  precipitous  cliff.  The  river  flowing  at 
its  base  winds  down  from  mountains  in  the  left  back* 
ground.  In  the  left  foreground  a  woman  on  horseback, 
wearing  a  dark  blue  skirt  and  red  bodice,  in  conversation 
with  another  woman,  who  walks  beside  her  carrying 
one  child  and  leading  a  second  by  the  hand.  On  the 
further  left  a  seated  woman  and  a  shepherd  lad.  In  the 
right  foreground  a  boy  is  playing  with  a  dog.  Goats  and 
sheep  are  scattered  among  the  figures.  The  brown  tones 
of  the  foreground  melt  into  the  tender  gray^green  of  the 
mountains  and  the  translucent  pale  yellow  of  the  slightly* 
cloudy  sky. 

Signed  in  the  centre  foreground:  N.  Berchem  (partly 

illegible). 

Panel:  H.  19%  inches;  "W.  15%  inches. 

An  identical  composition,  of  larger  size,  dated  1659, 

hangs  in  the  Dresden  Gallery,  Cat.  No.  1489. 

Lent  by  Mr.  Charles  E.  Bushnell,  New  York. 


32 


ABRAHAM  VAN  BEYEREN 

BORN  at  The  Hague  in  1620*21.  Died  at  Alkmaar  in 
1675.  Probably  a  pupil  of  his  brothersinslaw,  Pieter 
de  Putter.  Worked  at  Leyden,  at  Delft,  at  Alkmaar  and 
especially  at  The  Hague.  Painter  of  still  life  and  marines. 


STILL  LIFE 

On  a  table  covered  witb  a  blue  clotb  edged  witb  silver 
fringe  is  a  basket  holding  a  silver  dish  filled  with  grapes, 
peaches  and  figs;  on  the  left  a  golden  beaker  and  a  silver 
plate  with  a  ham;  behind  this  is  a  Delft  stein  and  a  Re* 
naissance  cup.  In  the  foreground  on  a  white  cloth  is  a 
silver  tray  with  a  lobster  and  two  Rhine*wine  glasses ; 
on  the  right  some  oysters  and  a  small  loaf.  A  red  curtain 
is  draped  over  a  window  at  the  left. 

Canvas :  H.  49  inches;  W.  41V2  inches. 

Lent  by  Mrs.  William  L.  Elkins,  Philadelphia. 


37 


FERDINAND  BOL 

BORN  at  Dordrecht  in  1616.  Died  at  Amsterdam  in 
1680.  Pupil  of  Rembrandt  between  1635  and  1640. 
Worked  at  Amsterdam.  Painter  of  portraits,  religious 
and  allegorical  subjects. 

3 

PORTRAIT  OF  A  LADY 

Half4ength.  The  figure  turned  slightly  to  the  left,  facing 
the  spectator.  Her  waving  brown  hair  falls  about  her 
shoulders,  and  her  hands,  the  left  holding  a  fan,  are  folded 
before  her.  She  wears  a  black  dress  -with  a  greenish 
bodice,  an  elaborate  lacestrimmed  collar,  pearls  on  her 
wrists  and  throat  and  a  gold  comb  in  her  hair. 

Signed  on  the  left:  F.  Bol,  1643  (the  ^a^  figure  uncertain). 
Canvas:  H.  33  inches;  W.  27  inches. 

Lent  by  Mr.  Theodore  M.  Davis,  Newport. 


38 


JAN  VAN  DE  CAPELLE 


CONTINUED 


MARINE 


BROAD  expanse  of -water  and  sky.  On  the  right  a 
pier  and  sailboats;  at  the  end  of  the  pier  the  figures 
of  three  men  are  outlined  against  the  horizon.  On  the 
left  a  large  sailboat  with  reddishsbro  wn  sails  and  beyond 
it  two  war  vessels,  the  larger  under  full  sail.  In  the  centre 
of  the  foreground  a  rowboat  with  two  fishermen,  one 
drawing  a  net.  From  the  left  a  neck  of  land  extends  along 
the  horizon. 

Signed  on  the  right:  J.  v.  C. 
Panel:  H.  23  inches;  "W.  33  inches. 

Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 


44 


AELBERT  CUYP 

BORN  in  Dordrecht  in  1620.  Died  in  1691.  Pupil  of 
his  father,  Jacoh  Gerrits  Cuyp.  Primarily  influenced 
by  Jan  van  Goyen  and  Pieter  Molyn,  later  by  Rem* 
brandt.  Painter  of  landscapes,  portraits,  animals  and 
still  life. 

6 

VILLAGE  IN  THE  DUNES 

In  the  middle  distance  a  village,  with  a  church  on  the 
left  and  two  windmills  on  the  right,  partly  obscured  by 
the  dunes.  In  the  centre  of  the  foreground  a  peasant,  in 
a  darksgr ay  jacket,  leans  on  his  staff  and  looks  toward 
the  village.  A  gray,  clouded  sky.  A  warm  yellow  tone 
suffuses  the  landscape. 

Panel:  H.  8V2  inches;  W.  10%  inches. 

Early  work  under  influence  of  van  Goyen,  about  1640. 

Hofstede  de  Groot,  No.  701. 

Von  Preyer  Collection,  Vienna. 

Lent  by  Senator  "W.  A.  Clark,  New  York. 


49 


AELBERT  CUYP 

CONTINUED 


PIPING  SHEPHERDS 


A  GROUP  of  three  shepherds  on  a  hill  near  the 
borders  of  the  Maas,  one  playing  a  bagpipe,  the 
second  a  flute,  the  third  reclining  on  the  bank.  Behind 
the  group  the  heads  of  two  cows  are  seen  in  front  of 
some  shrubs,  and  in  the  foreground  a  small  barking  dog. 
On  the  slope  of  the  hill  a  flock  of  sheep.  In  the  back* 
ground  a  distant  view  of  the  Maas. 

Signed  on  the  right :  A.  Cuyp. 
Canvas:  H.  35V2  inches;  W\ 47%  inches. 
Early  work,  about  1640*50. 
Hofstede  de  Groot,  No.  331. 

Lent  by  Mrs.  Collis  P.  Huntington,  New  York. 


5o 


AELBERT  CUYP 

CONTINUED 

8 

THE  MAAS  NEAR  DORDRECHT 

THE  river,  alive  with  many  boats,  occupies  the  lower 
part  of  the  canvas.  Rush=grown  shore  with  piles 
in  the  foreground.  On  the  right  a  sailboat  with  partly* 
reefed  sails.  Toward  the  left,  on  a  small  jut  of  land,  three 
boats  are  beached  and  loading.  A  man  with  a  sack  and 
a  woman  with  a  basket  on  her  arm  stand  clearly  outlined 
against  the  horizon.  Two  boats,  one  with  six  passengers, 
are  rowing  toward  the  shore.  Farther  back  several  sail* 
boats.  Dordrecht  lies  on  the  opposite  shore,  with  the 
"Great  Church"  on  the  right.  The  larger  part  of  the 
canvas  depicts  a  misty  sky.  The  sun  breaking  through 
on  the  left  is  reflected  in  the  water.  Afternoon  light. 

Signed  on  the  left  at  the  base  of  the  boat:  A.  Cuyp. 
Canvas:  H.  41%  inches;  "W.  64  inches. 
About  1650. 

The  picture  may  be  identical  with  one  of  the  following 
numbers  of  Hofstede  de  Groot:  646, 652b,  byjd. 
Catalogue  of  the  H.  C.  Frick  Collection,  No.  7. 
Bode,  Dutch  and  Flemish  Painters,  1909,  p.  192. 
Collection  of  a  Northumberland  family. 

Lent  by  Mr.  Henry  C.  Frick,  New  York. 


55 


AELBERT  CUYP 

CONTINUED 


RIVER  VIEW 
"  Sea  view  with  cattle  on  snore" 

ABROAD  expanse  of  water  and  sky,  with  several 
warships  carrying  the  Dutch  flag,  and  smaller  craft 
in  the  foreground.  At  the  edge  of  the  marshy  shore,  seven 
cows.  A  warm  evening  sky  with  clouds  is  reflected  in 
the  water. 

Signed  on  the  right :  Cuyp. 

Panel:  H.  10V2  inches;  W.  i6ys  inches. 

About  1650*60. 

Lent  by  Sir  William  van  Home,  Montreal. 


56 


AELBERT  CUYP 

CONTINUED 

10 

MILKING  TIME 

SIX  cows  are  pastured  in  a  meadow  lying  at  the  foot 
of  Kills .  A  maid  is  milking  a  black  cow,  and  a  bro wn 
one  stands  near  by,  turned  in  profile  to  the  left.  In  front 
He  two  more  brown  cows  and  a  white  one.  On  the  left, 
behind  some  bushes,  a  sixth  cow  stands  facing  the  spec* 
tator.  Afternoon  light.  Yellow  clouds  on  the  horizon. 

Signed  on  the  lower  right:  A.  Cuyp. 

Panel:  H.  17V2  inches;  W\  21^  inches. 

About  1660*70. 

Probably  identical  with  Hofstede  de  Groot,  Nos.  380b 

and  387g. 

Sale  Pieter  Oets  in  Amsterdam,  1791. 

Sale  Earl  of  Cork  and  Orrery,  London,  1905. 

Lent  by  Mr.  W.  B.  Dickerman,  New  York. 


61 


AELBERT  CUYP 

CONTINUED 
11 

MILKING  TIME 

A  MEADOW  with  a  distant  view  of  Dordrecht  and 
its  cathedral.  At  the  right  three  cows  andawonu 
an  in  a  red  bodice  milking ;  in  the  foreground  meadows 
weeds.  Evening  sky  with  clouds. 

Signed  at  the  lower  left :  A.  Cuyp. 
Panel:  H.  22  V2  inches ; "W.  28 V2  inches. 
About  1660*70. 

Lent  by  Mr.  George  J.  Gould,  New  York. 


62 


AELBERT  CUYP 

CONTINUED 

12 

LANDSCAPE  WITH  FIGURES  AND  CATTLE 

IN  the  foreground  on  the  right  a  large  group  of  trees,  a 
shepherd  with  his  dog  and  two  cows ;  heyond  him  on 
a  hillock  in  the  shadow  of  the  trees,  a  horseman  in  red 
followed  by  a  group  of  peasants,  one  on  a  mule.  On  the 
left  a  pool  at  which  a  cow  is  drinking ;  on  the  opposite 
shore  the  stooping  figure  of  a  man,  and  heyond  him,  two 
shepherds  and  some  sheep.  In  the  centre  a  lake  and  a 
castle.  At  the  extreme  left  high  mountains,  one  crowned 
by  a  tower.  Evening  sky  with  clouds. 

Signed  at  the  lower  left:  A.  Cuyp  fecit. 

Canvas :  H.  52  inches ;  "W.  jj  inches. 

About  1670. 

A  large  replica,  -with  slight  variations,  of  a  picture  in  the 

possession  of  Lord  Scardale. 

Smith,  No.  91;  Waagen,  Vol.  II,  p.  398;  Hofstede  de 

Groot,  No.  437. 

Exhibited  at  the  Royal  Academy ,  London,  1828,  1871, 

1894,  1903. 

Collection  of  Lord  Dudley,  London. 

Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 


67 


AELBERT  CUYP 

CONTINUED 

13 

LANDSCAPE  WITH  BRIDGE 

AT  the  left  a  road  leading  to  the  right  over  an  arched 
stone  bridge  which  spans  a  narrow  stream.  At  the 
right  several  mountains  which  slope  off  to  the  horizon. 
In  the  foreground,  on  the  left,  a  seated  shepherd  and  four 
cows,  a  white  one  going  toward  the  water.  On  the  op* 
posite  side  of  the  bridge  two  men  on  the  road.  A  warm 
golden  light  suffuses  the  picture. 

Signed  on  the  right:  A.  Cuyp. 

Panel:  H.  19  inches; "W.  28%  inches. 

About  1660*70. 

Hofstede  de  Groot,  No.  304. 

Collection  of  W.  A.  Hankey,  Beaulieu  in  Hastings. 

Lent  by  Mrs.  John  W.  Simpson,  New  York. 


68 


AELBERT  CUYP 

CONTINUED 

14 

MAN  EATING  MUSSELS 

ON  the  right  of  the  canvas,  a  Blacksmith,  wearing  a 
golden*brown  jacket,  is  seated  in  his  smithy,  beside 
a  cask,  eating  mussels ;  a  small  hoy  and  a  little  girl  who 
wears  a  red  bodice  and  a  white  apron  are  watching  him. 
On  the  right  two  richlysdressed  men  are  looking  through 
a  window.  The  smith's  assistant  stands  in  the  left  backs 
ground  in  the  shadow,  holding  a  hammer  in  his  hand.  A 
small  dog  lies  in  front  of  the  cask.  On  the  left  a  cock  and 
two  hens. 

Signed  at  the  lower  left:  A.  C. 

Panel:  H.2o!4  inches;  W.  30V2  inches. 

About  1660*70. 

This  picture  is  a  smaller  replica  o(  the  painting  in  the 

Boyman's  Museum  in  Rotterdam. 

Smith,  No.  178;  Hofstede  de  Groot,  No.  50. 

Van  Loon  Collection,  Amsterdam. 

Sale  A.  Febvre,  Paris,  1882. 

Sale  Baron  de  Beurnonville,  Paris,  1883,  No.  13. 

Sale  F.  Zschille,  Cologne,  1889. 

Collection  of  Baron  C.  v.  d.  Heydt,  Berlin. 

Lent  by  Mr.  M.  C.  D.  Borden,  New  York. 


73 


AELBERT  CUYP 

CONTINUED 

15 

COCK  AND  HENS 

ACOCK,  turned  toward  the  left,  stands  near  a 
wooden  fence.  On  his  left  five  hens.  In  the  right 
foreground  a  brass  milk*can,  and  behind  the  fence  a  large 
tree==trunk.  Some  cabbages  in  the  left  foreground,  and  in 
the  rear  a  hilly  landscape  against  an  evening  sky.  Warm 
goldensbrown  tones  predominate. 

Panel:  H.  35V2  inches;  "W.  45 inches. 

About  1650*60.  A  similar  picture  belonging  to  Dr.  A. 

Bredius  at  The  Hague  is  dated  1651. 

Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 


74 


PEACHES 

I  of  blue  and  white  Chu 

/k  ing  peaches,  stands  on  the  j 

!n  one  of  the  peaches  a  beet 

a  butterfly.   Behind  the  dish,  on  t 

grapes. 

Signed  on  the  left  edge  of  the  table 
Panel:  H.  ij inch  -2$ inches. 

Hofstede  de  Groot,  Nos.  836,  837. 
Sale  H  at,  Paris,  1875. 

e  Paul  Galitzin.  Par 


■ 


AELBERT  CUYP 

CONCLUDED 

16 

PEACHES 

A  DISH  of  blue  and  white  Chinese  porcelain,  hold* 
ing  peaches,  stands  on  the  right-hand  side  of  a 
table.  On  one  of  the  peaches  a  beetle  and  on  the  leaves 
a  butterfly.  Behind  the  dish,  on  the  left,  a  bunch  of 
grapes. 

Signed  on  the  left  edge  of  the  table :  A.  C. 
Panel:  H.  17 inches; "W.  25 inches. 
Hofstede  de  Groot,  Nos.  836,  837. 
Sale  H.  de  Kat,  Paris,  1875. 
Sale  Prince  Paul  Galitzin,  Paris,  1875. 

Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 


79 


JAN  VAN  GOYEN 

BORN  at  Leyden  in  1596.  Died  at  The  Hague  in 
1656.  Studied  under  Esaias  van  de  Velde  and  others. 
Worked  at  Leyden  and  at  The  Hague.  Visited  France. 
Painter  and  draughtsman  of  flat  landscapes  and  marines. 

17 

VIEW  OF  RHENEN 

A  sloping  hillside  surmounted  by  the  walled  city  of 
Rhenen,  from  which  rises  the  high  cathedral  tower, 
and  beyond  it  a  windmill.  In  the  foreground  at  the  right 
a  road,  winding  about  a  sunlit  slope,  leads  along  the  banks 
of  the  river  to  the  city.  In  the  foreground,  several  peas* 
ants,  a  vehicle,  and  near  them  some  cows  standing  in  a 
pool.  Broad  expanse  of  clouded  sky. 

Signed  on  the  right:  J.  v.  Goyen  1636. 
Canvas:  H.  39%  inches;  "W.  53V2  inches. 

Property  of  The  Metropolitan  Museum  of  Art, 
New  York. 


80 


JAN  VAN  GOYEN 

CONTINUED 

18 

VIEW  OF  RHENEN 

ON  the  left  the  river  winds  through  a  hilly  country. 
The  town,  situated  on  a  hillside,  is  dominated  by 
the  high  Gothic  church  tower,  a  castle  and  two  wind* 
mills  on  the  right.  In  the  left  foreground  a  little  inlet  in 
which  a  boat  is  lying .  A  road  leads  from  the  town  toward 
the  right  foreground;  on  it,  in  a  sunlit  spot,  an  equipage, 
drawn  by  four  white  horses  and  accompanied  by  a  rider. 
Brown  tones  predominate  in  the  foreground,  changing 
to  a  background  of  graysgreen.  Dark  gray  clouds  are 
massing  in  the  pale  blue  sky. 

Signed  on  the  right  foreground:  J.  v.  Goyen  1646. 

Canvas:  H.  251/2  inches;  "W.  34V2  inches. 

Collection  of  T.Wright,  Apton  Hall,  Notts,  England. 

Lent  by  Senator  W\  A.  Clark,  New  York. 


85 


JAN  VAN  GOYEN 

CONTINUED 

19 

VIEW  OF  DORDRECHT 

IN  the  foreground  the  river  Maas,  gay  with  boats. 
Among  them  a  ferry-boat  with  tall  sails  and  contains 
ing  numerous  passengers,  nearing  the  left  shore.  In  the 
middle  distance  the  red  roofs  of  the  town  are  seen  through 
a  gray  mist.  The  "Great  Church"  on  the  right.  High, 
light  blue  sky  with  gathering  clouds. 

Signed  on  a  boat  in  the  right  foreground:  v.  G.  1651. 
Canvas:  H  40%  inches;  W.  53%  inches. 

Lent  by  Senator  "W.  A.  Clark,  New  York. 


86 


DIRK  HALS 

BORN  at  Haarlem,  1591.  Died  there  in  1656.  Pupil 
of  his  older  brother,  Frans  Hals.  Worked  at  Haar* 
lem.  Genre  painter. 

20 

CHILDREN  PLAYING  CARDS 

A  little  girl  wearing  a  green  dress  -with  white  sleeves 
is  seated  on  the  right,  laughingly  holding  out  an  ace  of 
spades.  On  the  left  a  boy  seated  in  a  crouching  attitude 
is  playing  a  card.  He  wears  a  brownish?gray  costume 
and  a  slouch  hat.  The  children  are  using  a  foot=stove  as  a 
table.  In  the  foreground  some  cards  are  lying  on  the  floor. 

Signed  in  background  above  right  hand  of  girl :  Dirck 

Hals  163—  (last  figure  indistinct). 

Panel:  H.  13  inches;  "W.  11  inches. 

Companion  piece  to  No.  21. 

Grefner  Fagel  Collection,  sold  in  London,  1801. 

Collection  of  King  Leopold  of  Belgium. 

Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 


DIRK  HALS 

CONTINUED 

21 

GIRLS  WITH  A  CAT 

A  LITTLE  girl  is  seated,  holding  a  cat  on  her  knee ; 
a  smaller  girl  offers  it  something.  The  children 
have  blonde  hair  and  fresh  red  cheeks  and  are  laughing 
heartily.  They  are  dressed  in  tones  of  yellow,  brown  and 
grayishsgreen.  The  elder  child  wears  a  blue  and  red  hood 
and  a  white  collar.  An  earthenware  vessel  stands  in  the 
foreground. 

Panel:  H.  13  inches;  W\  11  inches. 
Companion  piece  to  No.  20. 
Grefner  Fagel  Collection,  sold  in  London,  1801. 
Collection  of  King  Leopold  of  Belgium. 

Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 


92 


FRANS  HALS  THE  ELDER 

BORN  at  Antwerp,  1584.  Died  at  Haarlem,  1666. 
Pupil  of  Karel  van  Mander .  Worked  mostly  at  Haar* 
lem.  Portrait  and  genre  painter. 

22 

THE  SMOKER 

Bust  of  a  smiling  boy  looking  toward  the  spectator,  the 
figure  turned  slightly  to  the  right.  He  wears  a  striped 
brown  coat  and  smokes  a  long  clay  pipe.  Behind  him  at 
the  left  a  young  girl,  whose  arms  are  about  his  shoulders ; 
at  the  right  a  second  girl  in  a  red  dress,  holding  a  stein. 
Behind  the  group  at  the  left  a  graysgreen  curtain. 

Octagonal  panel:  H.  17%  inches;  "W.  18%  inches. 
Moes,  No.  212. 

Exhibited  at  the  Royal  Academy,  London,  1887. 
Collection  of  R.  G.  Wilberforce,  London. 
Collection  of  Henry  G.  Marquand,  New  York. 

Property  of  The  Metropolitan  Museum  of  Art, 
New  York. 


97 


FRANS  HALS 

CONTINUED 

22A 

THE  MERRY  COMPANY 
"Ausgelassene  Gesellschaft" 

A  YOUNG  girl  seated  at  a  table  with  her  right  hand 
raised  in  warning  as  she  gaily  turns  her  smiling  face 
toward  the  man  at  her  left.  Her  blonde  hair  is  crowned 
with  laurel.  She  "wears  a  white  satin  costume  with  an 
overdress  of  deep  orange,  richly  embroidered,  and  a  flar* 
ing  lace  collar.  At  her  throat  and  wrists  are  strings  of 
coral.  A  man  with  a  florid  face  rests  his  cheek  against 
her  head  and  has  his  arm  about  her  shoulders;  he  is  dressed 
in  black,  with  a  clay  pipe  stuck  in  his  large  soft  hat,  and 
over  his  right  shoulder  hangs  a  string  of  sausages  and 
dried  fish;  in  his  right  hand  he  holds  the  tail  of  a  fox. 
A  man  at  the  right  looking  down  at  her  wears  a  gray 
cloak  and  a  red  cap  and  holds  a  cane  in  his  left  hand.  In 
the  background  at  the  left  is  a  smiling  buffoon  dressed  in 
green,  with  a  wooden  spoon  in  his  red  hat.  The  table  in 
the  foreground  has  a  green  cover,  and  standing  on  it  are 
various  household  utensils — a  pot  of  coals,  a  stein  and  a 
dish  of  sausages.  Dark  green  background. 

Signed  in  Gothic  letters  on  the  stein:  F.  H. 

Canvas:  H.  50%  inches ; "W.  39  inches. 

About  1620. 

Dirk  Hals,  the  brother  of  the  artist,  has  copied  this  com* 

position  in  a  small  picture  in  the  Louvre. 

Bode  St.,  No.  75;  Moes,  N0.208;  K.  Erasmus,  Der  Cice* 

rone,  January  and  May,  1909;  Bode,  Der  Cicerone,  Feb* 

ruary  and  May,  1909. 

Exhibited  at  the  Palais  du  Corps  Legislatif,  1874. 

Cocret  Collection,  Paris. 

Lent  by  Mr.  B.  Altman,  New  York. 

98 


FRANS  HALS 

CONTINUED 

23 

SINGING  BOYS 

BUST,  slightly  turned  to  the  right.  A  boy  with  long 
light  curls,  wearing  a  Mack  hat  with  a  feather,  sings 
from  a  hook  which  he  holds  before  him;  -with  his  left 
hand  he  marks  the  time.  A  second  boy  looking  over  his 
right  shoulder  is  singing  from  the  same  book. 

Canvas:  H.  23%  inches;  "W.  19%  inches. 
About  1625. 
Moes,  Nos.  225,  226. 

Lent  by  Mr.  Charles  Stewart  Smith,  New  York. 


103 


FRANS  HALS 

CONTINUED 

24 

BOY  PLAYING  A  FLUTE 

BUST.  The  figure  is  turned  to  the  left,  the  head  thrown 
back;  the  pose  suggests  the  motion  of  the  dance.  He 
wears  a  dark  coat  and  a  black  hat  with  a  feather.  His 
hands,  holding  the  flute,  are  raised  to  the  left. 

Canvas:  25I/2  inches;  W\  25V2  inches. 

Lent  by  Mr.  E.  D.  Libbey,  Toledo. 


104 


( 

^"^Nk 

^ 

^ 

BSSi 

^ 

^Life 

■    {'  A&*'M 

^v^^M 

K^W 

FRANS  HALS 

CONTINUED 

25 

SAMUEL  AMPZING,  PREACHER  IN  THE 
REFORMED  CHURCH,  HAARLEM 

BUST,  turned  to  the  right,  looking  at  the  spectator.  He 
has  a  heard  and  wears  a  black  robe  with  a  white  linen 
ruff  at  the  neck.  With  the  left  hand  he  holds  a  parch* 
mentsbound  hook  with  red  leaves  against  his  breast. 

On  the  right  the  inscription:  Aetat  40,  AN01630. 
Copper:  H.  6%  inches;  W.  4%  inches. 
Print  by  J.  Suyderhoef. 
Moes,  No.  12. 

Lent  by  Sir  William  van  Home,  Montreal. 


[09 


FRANS  HALS 

CONTINUED 

26 

WILHEM  VAN  HEYTHUYSEN 

BUST,  turned  to  the  right,  facing  the  spectator,  wears 
ing  a  pointed  beard.  The  face  is  smiling  and  the  right 
hand  toys  with  the  tassel  of  a  lacestrimmed  collar ;  the 
left  holds  his  gloves.  He  wears  a  dark  coat  and  a  broad? 
brimmed  hat.  Gray  background.  In  a  painted  oval  frame. 

Panel:  H.  cy/s  inches; "W.  7%  inches. 

Bode  St.,  No.  43;  Moes,  No.  47. 

Exhibited,  Palais  du  Corps  Legislatif,  Paris,  1874. 

Double  Collection,  Paris. 

Collection  of  Henry  Hecht,  Paris. 

Lent  by  Mr.  Charles  L.  Hutchinson,  Chicago. 


no 


FRANS  HALS 

CONTINUED 

27 

PORTRAIT  OF  A  MAN 

HALF-LENGTH .  Turned  to  the  right.  He  has  a  gray 
beard  and  wears  a  black  bat  and  cloak  with  a  white 
ruff.  His  right  hand  is  folded  over  the  left,  which  holds 
a  twig. 

Signed  on  the  right:  Aeta  Svae  66  An°  1633,  with  the 

monogram  F.  H. 

Canvas:  H.  30%  inches  ;"W.  24%  inches. 

Moes,  No.  184a. 

Lent  by  Mrs.  Morris  K.  Jesup,  New  York. 


"5 


FRANS  HALS 

CONTINUED 

28 

PORTRAIT  OF  AN  ARTIST 

HALF-LENGTH.  Seated,  the  right  arm  renting  on 
the  arm  of  his  chair.  His  hair  is  long  and  he  wears 
a  large  slouch  hat.  Black  costume  with  broad  white  col* 
lar  and  cuffs.  A  cloak  is  thrown  over  his  left  shoulder. 
He  holds  a  paint-brush  in  his  right  hand.  A  column  be* 
hind  him  on  the  right. 

Signed  at  the  lower  right :  F.  H.  1635. 

Canvas:  H.  39V2  inches;  "W.  32%  inches. 

By  some  called  a  portrait  of  the  artist. 

Bode  St.,  No.  140;  Moes,  No.  37;  Catalogue  of  the  H. 

C.  Frick  Collection,  No.  18. 

Exhibited  at  the  Burlington  House,  London,  1882,  No.  87. 

Collection  of  S.  K.  Mainwaring,  Otley,  England. 

Lent  by  Mr.  Henry  C.  Frick,  New  York. 


116 


vNS  HALS 


ig  on 

i 


H 


and  he  ! 

essed  in  h 

ck  skull^c 

Signed  on  th  Aeta 

the  artist's  mon. 
At  the  top  of  th< 
Natus  1590  S  M  Ft. 
Panel:  H.  10 V2  inch,: 
Print  hy  J.  Suyderh 
Sibelius  was  born  1 
first  in  London,  then  in 
where  he  died  in  1658.  : 
of  the  p. 

por  certain 

Moes,  No.  74. 
Exhibited  at  the 

Lent  i 


FRANS  HALS 

CONTINUED 

29 

THE  REV.  CASPAR  SIBELIUS 

HALF*LENGTH.  Turned  slightly  toward  the  right, 
addressing  his  congregation.  The  left  hand  is  raised 
in  eloquent  gesture  and  he  holds  a  small  prayer-book  in 
the  right.  He  is  dressed  in  Hack  with  a  -white  outstand* 
ing  ruff  and  a  black  skulUcap. 

Signed  on  the  right:  Aetat  Svae  47,  An°  1637,  beneath 

the  artist's  monogram  composed  of  the  letters  F.  Hals. 

At  the  top  of  the  canvas,  in  the  centre,  the  inscription 

Natus  1590  S  M  Functus  40. 

Panel:  H.  10V2  inches;  W\  9  inches. 

Print  by  J.  Suyderhoef. 

Sibelius  was  born  in  Elberfeld  in  1590,  and  preached 

first  in  London,  then  in  Zurich,  and  finally  in  Deventer, 

where  he  died  in  1658.  From  what  is  written  on  the  back 

of  the  painting  it  would  seem  that  Sibelius  presented  this 

portrait  to  a  certain  Professor  Hoffman. 

Moes,  No.  74. 

Exhibited  at  the  Palais  du  Corps  Legislatif,  Paris,  1874. 

Lent  by  Mr.  M.  C.  D.  Borden,  New  York. 


121 


■  FRANS  HALS 

CONTINUED 

30 

MICHIEL  DE  WAEL(?) 

HALF*LENGTH  figure  turned  to  the  right.  He  has  a 
moustache  and  a  slight  chin*tuft,  and  wears  a  large 
black  felt  hat,  a  black  costume  with  a  white  ruff  and  yel? 
lowish  gloves.  His  left  hand  rests  on  a  stick. 

Inscribed  on  the  right:  Aetat  Svae  32,  An  1638. 

Canvas:  H.  34  inches;  "W.  26%  inches. 

This  portrait  is  said  to  be  Michiel  de  Wael,  who  appears 

in  the  picture  of  St.  Jons'  Shooting  Company,  1639. 

Moes,  No.  135. 

Collection  of  Arthur  Seymour,  London. 

Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 


122 


as  a 


>rk. 


FRANS  HALS 

CONTINUED 

31 

PORTRAIT  OF  A  LADY 

HLFsLENGTH  figure  turned  to  the  left,  facing  t 
spe  holding  a  fan  m  the  right  hand.  Sne  wears 

a  black  dress  with,  a  wid<:  cs  lace*trimmed  col; 

and  cuffs,  a  close*ntting  cap,  and  a  pearl  necklace.  Gray 
background. 

Canvas:  H.  31V2  incnes;"W.  25 V2  inches. 

About  1640. 

Moes,  No.  206. 

Exhibited  at  the  Royal  Academy,  London,  1903. 

Sale  Isle  of  V/ig  )6. 

Lent  by  h  ierpont  Morgan,  New  York. 


127 


FRANS  HALS 

CONTINUED 

31 

PORTRAIT  OF  A  LADY 

HALF*LENGTH  figure  turned  to  the  left,  facing  the 
spectator,  holding  a  fan  in  the  right  hand.  She  wears 
a  black  dress  with  a  wide,  white,  lace*trimmed  collar 
and  cuffs,  a  close*fitting  cap,  and  a  pearl  necklace.  Gray- 
background. 

Canvas:  H.  31V2  inches ;  W.  25V2  inches. 

About  1640. 

Moes,  No.  206. 

Exhibited  at  the  Royal  Academy,  London,  1903. 

Sale  Isle  of  Wight,  1896. 

Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 


127 


FRANS  HALS 

CONTINUED 

32 

PORTRAIT  OF  A  MAN 

HALF-LENGTH,  turned  to  the  left,  facing  the  specs 
tator.  He  has  long,  straight  black  hair.  His  right 
hand  in  the  folds  of  his  cloak.  A  square,  white  cambric 
collar. 

Canvas:  H.  25  inches; "W.  21  inches. 

Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 


128 


h 


FRANS  HALS 

PORTF 

i 

brie 
'KiladelpL 


128 


FRA 


BODOLPHE 

THE  TERS  LENGTH.  Fig 

de  a  seated  in  a  high*backed  ch> 

The  face,  three-quarters  view,  lc 
tor;  in  his  hand 
dark  coat  is  closely  buttoned, 
falls  over  the  left:  shoulder  anc 
ruff  and  a  black  felt  hat  v 
crown. 

Signed  on  the  right :  A .  -43, 

monogram  F.  H. 

Canvas :  H .  4  ;s ;  V/ 

Companion  p 

The  identity 

Bode  St.,  Nc 

Collection  c 


Ler 


FRANS  HALS 

CONTINUED 

33 

HEER  BODOLPHE 

THREE^UARTERS  LENGTH.  Figure  of  an  el* 
derly  man  seated  in  a  highjacked  chair,  turned  to 
the  right.  The  face,  three-quarters  view,  looks  intently 
at  the  spectator;  in  his  hands  he  holds  his  gloves.  His 
dark  coat  is  closely  buttoned,  and  a  cloak  of  similar  tone 
falls  over  the  left  shoulder  and  knees.  He  wears  a  white 
ruff  and  a  black  felt  hat  with  a  broad  brim  and  a  high 
crown. 

Signed  on  the  right:  AeTat  Svae  73  An°  1643,  w^  the 

monogram  F.  H. 

Canvas:  H.  48  inches;  "W.  38V2  inches. 

Companion  picture  to  No.  34. 

The  identity  of  this  subject  is  uncertain. 

Bode  St.,  No.  55;  Moes,  No.  105. 

Collection  of  Count  Mniszech,  Paris. 

Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 


133 


FRANS  HALS 

CONTINUED 

34 

VROUW  BODOLPHE 

THREE^UARTERS  LENGTH.  An  elderly  lady 
seated  in  a  carved  chair,  turned  to  the  front  and  look* 
ing  at  the  spectator,  full  face ;  her  left  hand  rests  on  the 
arm  of  the  chair,  and  in  her  right  hand  she  holds  a  pair 
of  long  white  gloves.  She  wears  a  dark  dress  with  fur 
trimmings,  a  white  ruff  around  the  throat,  and  a  close* 
fitting,  ■white  linen  cap. 

Signed  on  the  left:  Aetat  Svae  73  An°  1643,  with  the 

monogram  F.  H. 

Canvas:  H. 48  inches;  W\  38I/2  inches. 

Companion  picture  to  No.  33. 

The  identity  of  this  subject  is  uncertain. 

Bode  St.,  No.  56;  Moes,  No.  106. 

Collection  of  Count  Mniszech,  Paris. 

Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 


J34 


34 

>DOLPHE 

TH.  An  elderly  lady 
nd  look* 
>n  the 

<iir 


Mni 


ew  York. 


fsSnK £' L  «.  -                ■■*{*'  ^tt*^  ^  -y-y 

HI*    iMk 

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'       KW       V    Hi 
■v.     .a 
■■■ 

HSflfi 

■ 

HL.      t^db^fVBSL.    ^^^ 

^te'.j^roi^F^ 

HI '     ^H| 

W£    1 

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^*3^^b^Hb9I^bV£«&' • 

&l_                 r^  |5g£<    %)* 

1  ^n^Bf9h9b    wflHr  r^  T-vt 

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1 

S  HALS 

•NTlNtTED 

35 

PORTRAIT  OF  A  MAN 

IvRTERSLE 
*ht,  the  right  hand  resting  c 
the  palm  turned  outward,  the  gloved  left  i 
the  right  glove  against  the  chest.  He 
tume,  a  large  lace«tri  I  collar  and  a  felt 

Signed  on  the  right  oft1  ind :  A 

1643,  with  the  monogram  F.  H. 
Canvas:  H.  46V4  ir  ches. 

Moes,  No.  13: 

Lent  by  Mrs.  Collis  P 


139 


FRANS  HALS 

CONTINUED 

35 

PORTRAIT  OF  A  MAN 

THREE-QUARTERS  LENGTH.  Standing,  turned 
to  the  right,  the  right  hand  renting  on  the  hip  with 
the  palm  turned  outward,  tKe  gloved  left  hand  holding 
the  right  glove  against  the  chest.  He  wears  a  black  cos- 
tume,  a  large  lace-trimmed  collar  and  a  felt  hat. 

Signed  on  the  right  of  the  foreground:  Aetat  Svae  Ano 
1643,  with  the  monogram  F.  H. 
Canvas:  H.  4614  inches; "W.  35%  inches. 
Moes,  No.  137. 

Lent  by  Mrs.  Collis  P.  Huntington,  New  York. 


139 


H 


FRANS  HALS 

CONTINUED 

36 

DOROTHEA  BERCK 

Wife  of  Balthasar  Coymans  (No.  37) 

ALFjLENGTH  portrait  of  a  middle-aged  woman, 
seated,  and  turned  slightly  to  the  left,  with  hands 
folded,  the  right  hand  gloved.  She  wears  a  black  dress 
with  a  padded  skirt,  a  pointed  collar  with  turnedsback 
cuffs  of  "white  cambric.  Her  dark  chestnut  hair  is  arranged 
under  a  closesfittmg,  black  silk  cap. 

On  the  wall  to  the  left  her  armorial  bearings,  Aetat 

Svae  51,  An°  1644,  with  the  monogram  F.  H. 

Canvas:  H.  31V8  inches;  W.  2jY&  inches. 

The  identity  of  the  subject  is  uncertain. 

Moes,  No.  29. 

Collection  of  Mrs.  Wollaston,  London. 

Collection  of  Rodolphe  Kann,  Paris. 

Lent  by  Mrs.  Collis  P.  Huntington,  New  York. 


140 


CON' 

36 


oman, 


Londc 

•^ewYork. 


ici  a 


FRANS  HALS 

NUED 

37 

R  CO 

Iderman  of  Haa 

T\1  iNGTH.  Portrait  of  i 

X    .  hair,  lighr  ache  a 

i  turned  to  the  right,  his  ar  :he 

:'oks  at  the  spectator,  H 
broici  red  coat  with  puffed  white  sleeves  and  a  high  black 
hat. 

Or  all  to  the  left  his  armorial  bearings,  and  the  in* 

scripts  i  Aetat  Svae  26,  1645. 

Canv\  9  inches ;  "W.  2,4- 

The  idc.  >(  this  subject  is  unc 

Mo. 

Collect  ^.odolphe  Kann,  Pa 

Lentb    Mrs.  Collis  P.  H-.  wYork. 


*45 


FRANS  HALS 

CONTINUED 

37 

BALTHASAR  COYMANS 
Alderman  of  Haarlem 

HALF*LENGTH.  Portrait  of  a  young  man  witk  long 
curling  hair,  light  moustache  and  a  chinstuft,  seated 
on  a  red  chair  turned  to  the  right,  his  arm  resting  on  the 
back  as  he  looks  at  the  spectator.  He  wears  a  goldsem* 
broidered  coat  with  puffed  white  sleeves  and  a  high  black 
hat. 

On  the  wall  to  the  left  his  armorial  bearings,  and  the  in* 

scrip tion  Aetat  Svae  26,  1645. 

Canvas:  H.  29%  inches; "W.  24%  inches. 

The  identity  of  this  subject  is  uncertain. 

Moes,  No.  27. 

Collection  of  Rodolphe  Kann,  Paris. 

Lent  by  Mrs.  Collis  P.  Huntington,  New  York. 


145 


FRANS  HALS 

CONTINUED 

38 

ISABELLA  COYMANS 
"The  Lady  with  the  Rose" 

THREE-QUARTERS  LENGTH.  Turned  slightly 
to  the  right,  the  face  looking  to  the  left,  smiling,  as  she 
holds  a  red  rose  in  her  extended  right  hand.  She  wears  a 
white  skirt  trimmed  with  silver  lace  and  a  black  over* 
skirt  and  bodice  with  a  white  lace  collar  and  cuffs ;  at 
her  right  side  a  bowof ribbon  from  which  hangs  a  watch. 
Around  her  throat  and  her  right  wrist  are  strings  of 
pearls,  and  she  wears  earrings  tied  with  red  ribbons. 
Her  waving  brown  hair  falls  about  her  neck  and  is  orna= 
mented  with  a  ribbon.  In  her  gloved  left  hand  she  holds 
her  right  glove.  Her  armorial  bearings  hang  on  the  wall 
at  the  left. 

Canvas:  H.  49  inches; "W.  50 inches. 

Companion  portrait  of  her  husband,  Stephanus  Geraerdts, 

in  the  Museum  at  Antwerp. 

Moes,  No.  35. 

Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 


146 


38 

i  slightly 

as  she 

irsa 

.  er* 

r  and  cuffs;  at 

h  hangs  a  wat*. 

ings  of 
■ 


d,  Stephanus  Gcraerdts, 


B.  "*  dadelphia. 


FRANS  HALS 

iNTINUED 

39 

PORTRAIT  OF  A  MAN 

THREE-QUARTERS  LENGTH.  Stan 
,htly  to  the  right.  He  has  gray  hair  an 
moustache,  and  wears  a  black  hat  and  a  c 
square  cambric  collar.  His  right  hand  is  or 
his  left,  folded  in  his  cloak,  holds  his  yellow  glc 
Signed  on  the  :  Aetatis  Svae  55,  -with  tl. 

gramF.  H.  16 

Canvas:  H.  49J/.>  inches;  W.  40  inches. 
Moes,  No.  107. 

Lent  by  Mr.  Charles  M.  Schwab,  Nev 


151 


FRANS  HALS 

CONTINUED 

39 

PORTRAIT  OF  A  MAN 

THREE-QUARTERS  LENGTH.  Standing,  turned 
slightly  to  the  right.  He  lias  gray  hair  and  a  small 
moustache,  and  wears  a  black  hat  and  a  cloak  with  a 
square  cambric  collar.  His  right  hand  is  on  his  hip,  and 
his  left,  folded  in  his  cloak,  holds  his  yellow  gloves. 
Signed  on  the  right:  Aetatis  Svae  55,  with  the  mono? 
gram  F.  H.  1648. 

Canvas:  H.  49%  inches;  W.  40  inches. 
Moes,  No.  107. 

Lent  by  Mr.  Charles  M.  Schwab,  New  York. 


I51 


FRANS  HALS 

CONTINUED 

40 

PORTRAIT  OF  A  LADY 

HALF-LENGTH.  Seated,  the  figure  turned  to  the 
left,  her  right  arm  over  the  back  of  the  chair,  facing 
the  spectator,  with  her  hands  clasped  before  her.  She 
wears  a  richly*trimmed  black  silk  dress  with  a  pink  front ; 
a  broad  lacestrimmed  collar  and  cuffs ;  a  black  cap  with 
a  point  over  the  forehead,  trimmed  with  a  gold  band 
studded  with  pearls;  and  gold  bracelets.  On  the  left,  in 
the  background,  two  columns,  and  on  the  right  a  distant 
view  with  church  spires. 

Canvas:  H.  38%  inches ; "W.  30%  inches. 

Moes,  No.  205. 

Erroneously  called  portrait  of  the  wife  of  the  artist. 

Collection  of  the  Earl  of  Besborough. 

Collection  of  Louis  Banker,  Kings  Lynn,  Norfolk. 

Collection  of  Henry  G.  Marquand,  New  York. 

Property  of  The  Metropolitan  Museum  of  Art, 
New  York. 


*5* 


40 

.  r  OF  Y 

F^  turned  to  the 

iir,  facing 
tier.  She 
front; 
th 
ad 
.  On  thel. 

hjht  a  distant 

No.  205. 

cously  called  portrait  of  the  wife  of  t 
n  of  the  E  ;esborough. 

n  of  Louis  Banker,  Kings  I  rfolk. 

1  of  Henry  G  Marquand.  York. 

^perty  of  The  Metropolitan  Museum  of  Art, 
New  York. 


*52 


41 

PORTRAIT  OF  A  MAN 

THREE-QUARTERS  LENGTH.  Stand 
turned  to  the  right,  the  right  hand  re&„ 
e  left  holding  a  broad^brimmed  hat. 
bla .  et  with  slashed  sleeves  over  a  whi 

a  small  white  collar. 

Signed  at  the  right  with  the  monogram  F.  H. 

Canvas:  H.  42^8  inches;  W.  33V2  inches. 

About  1650. 

Moes,  No.  184. 

Collection  of  the  Earl  of  Buckinghamshire. 

Collection  of  Henry  G.  Marquand,  New\ 

Property  of  The  Metropolitan  Mus. 
New  Yc 


FRANS  HALS 

CONTINUED 

41 

PORTRAIT  OF  A  MAN 

THREE-QUARTERS  LENGTH.  Standing,  slightly 
turned  to  the  right,  the  right  hand  resting  upon  the 
hip,  the  left  holding  a  broadsbrimmed  hat.  He  wears  a 
black  jacket  with  slashed  sleeves  over  a  white  shirt  with 
a  small  white  collar. 

Signed  at  the  right  with  the  monogram  F.  H. 

Canvas:  H.  425/s  inches;  W\  33  V^  inches. 

About  1650. 

Moes,  No.  184. 

Collection  of  the  Earl  of  Buckinghamshire. 

Collection  of  Henry  G.  Marquand,  New  York. 

Property  of  The  Metropolitan  Museum  of  Art, 
New  York. 


157 


BARTHOLOMEUS  VAN  DER  HELST 

BORN  at  Haarlem,  1613.  Died  at  Amsterdam  in  1670. 
Established  himself  in  Amsterdam  in  early  life, 
where,  under  the  influence  of  Nicolaes  Elias,  he  became, 
after  Rembrandt,  the  most  famous  portrait  painter  in 
the  city. 

42 

PORTRAIT  OF  A  MAN 

Bust.  The  hands  not  visible.  Turned  slightly  to  the  right. 
Dark  brown  hair,  gray  moustache  and  chin*tuft.  Black 
costume  with  flat  cambric  collar.  Gray  background. 

Signed  on  the  right:  Aeta  62.  B.  van  der  Helst,  1647. 
Panel:  H.  25V2  inches; "W.  20s/q  inches. 

Property  of  the  Metropolitan  Museum  of  Art, 
New  York. 


158 


EUS  V/  R  HELST 

)iedat  rn  in  1670. 

in  early  life, 

)  c  became, 

:iter  in 


:"r.  Bl 

Pane 
Pre 


BARTHOLOMF       VAN  DER  HELST 

43 

PORTRAIT  OF  A  LADY 

IT  ENGTH  figure,  turned  slightly  to  tl 

>ot  visible.  She  wee 
dress  t  1  d  and  silver  1 

collar.  Pearls  at  her  throat  and  in  her  hair,  whi 
brushed  plainly  back  and  falls  in  rir  a  eithe 

A  dark  green  curta;  'hind  her.  Brownish-g 

background  on  the 

Canvas:  H.  28%  inches ;  W.  25%  inches. 
About  1660. 

Formerly  ascribed  to  Terborch.  Rightly  attribu 
van  der  Helsr  by  Hofsfrede  de  Groot. 

Lent  by  Mr.  Robert  W.  de  Forest,  Nt 


163 


BARTHOLOMEUS  VAN  DER  HELST 

CONTINUED 

43 

PORTRAIT  OF  A  LADY 

HALF-LENGTH  figure,  turned  slightly  to  the  right, 
the  hands  not  visible.  She  wears  a  bluish*gray  silk 
dress  trimmed  with  gold  and  silver  lace  and  a  broad  lace 
collar.  Pearls  at  her  throat  and  in  her  hair,  which  is 
brushed  plainly  hack  and  falls  in  ringlets  on  either  side. 
A  dark  green  curtain  hangs  behind  her.  Brownish?gray 
background  on  the  right. 

Canvas:  H.  28%  inches;  "W".  25%  inches. 

About  1660. 

Formerly  ascribed  to  Terborch.  Rightly  attributed  to 

van  der  Heist  by  Hofstede  de  Groot. 

Lent  by  Mr.  Robert  W.  de  Forest,  New  York. 


163 


JAN  VAN  DER  HEYDEN 

BORN  at  Gorkum,  1637.  Died  at  Amsterdam  in  1712. 
Traveled  in  Germany,  Belgium  and  England.  He 
was  an  engineer  and  introduced  street  lamps.  Painter  of 
landscapes  with  architecture,  and  still  life. 

44 

STREET  IN  DELFT 

A  street  leading  to  the  City  Hall  at  Delft.  At  the  right 
several  men  and  boys  playing  at  bowls  beneath  a  shed 
built  against  the  wall  of  a  house ;  beyond  this  some  small 
shops.  At  the  left  a  row  of  old  houses  forms  an  irregular 
sky4ine.  In  the  background  on  the  left  the  street  narrows 
to  a  passageway  between  the  buildings .  In  the  foreground 
children,  groups  of  civilians  and  peasants. 

Signed  on  the  right:  J.  V.  Heyden. 
Panel:  H.  21 V4  inches;  "W.  27V2  inches. 
The  figures  are  byjanvander  Heyden,  not  by  Adriaen 
"van  de  Velde,  as  is  often  the  case  in  works  of  this  artist. 

Lent  by  Mr.  Theodore  M.  Davis,  Newport. 


164 


DER  I        DEN 

,1637.  DieaatAm^lcraamini7i2. 
many,  I  .  England.  He 

ps.  Painter  of 


.FT 


At  the  right 
oneath  a  shed 


1    erHeyder  yAdriaen 

s  of  this  artist. 

dore  M.  I  Newport. 


JAN  VAN  DER  HEYDEN 

CONTINUED 

45 

BULL  IN  THE  STREET 

ARED^BRO WN  bull,  turned  towards  the  right  and 
tethered  to  the  steps  of  a  house,  stands  in  a  strong 
light;  of  his  driver  behind  him  nothing  but  the  feet,  and 
legs  encased  in  dark  blue  stockings,  are  visible.  On  the 
right  a  woman  is  looking  out  of  the  window.  In  the  left 
foreground  a  large  dark  brown  hound  is  lying  in  the 
shade.  In  the  rear  a  canal,  its  farther  bank  edged  with 
trees.  Several  roofs  lit  up  by  the  sun  are  visible  beyond. 
A  number  of  figures  are  standing  beneath  the  trees, 
partly  in  the  shade ;  among  them  a  lady  and  gentleman, 
a  servingsmaid  and  two  dogs.  Dark  and  cloudy  sky. 
Canvas:  H.  i23/s  inches ; "W.  15%  inches. 

About  1660*65. 

The  bull,  the  dog  and  the  figures,  are  painted  by  Adriaen 

vandeVelde. 

Smith,  No.  109. 

Lent  by  Mr.  William  T.  Blodgett,  New  York. 


169 


MEINDERT  HOBBEMA 

BORN  at  Amsterdam,  1638;  died  there  in  1709.  Ed* 
ucated  under  the  influence  of  Jacob  van  Ruisdael. 
"Worked  at  Amsterdam  (seldom  after  1668).  Painter  of 
wooded  landscapes. 

46 

THE  POOL 

In  the  foreground  a  small  pool  lies  across  a  path  which 
leads  to  a  Gothic  church  in  the  background.  A  straw? 
thatched  cottage  overgrown  with  vines  stands  in  front 
of  the  church.  Tall  oaks  on  the  left,  beneath  which  two 
humble  thatched  cottages  are  partly  hidden.  A  man,  and 
a  woman  -wearing  a  red  skirt,  with  a  boy  at  her  side,  are 
standing  on  the  road.  Thick  white  clouds  are  massing  in 
the  sky  behind  the  church.  The  sunlight  shines  through 
the  trees  and  falls  in  patches  on  the  road. 

In  the  foreground  on  the  right,  signed:  M.  Hobbema. 

Panel:  H.  20V2  inches ;"W.  26V2  inches. 

Early  work,  about  1660. 

Probably  identical  -with  Smith,  No.  39. 

Muilman  Sale,  Amsterdam,  1813. 

Lapeyriere  Sale,  Paris,  181 7. 

Collection  of  George  Morant,  London,  1832. 

Lent  by  Mr.  William  T.  Blodgett,  New  York. 


170 


MEINDERT  HOBBEMA 

B:^N  at  died  da  Bd* 

ik  h  van  Ruisdael. 

W  i(seld  068).  Painter  of 

46 

THE  POOL 

cross  a  path  wnich 

-:  ground.  A  s1raw= 

thai  front 

■-ath  w  vvo 

udden.  A  man,  and 

.  boy  at  her  side,  are 

hurch 
id  falls 

I.  HOBBE?: 


v  Smith,  N 
ale,  Amsterdam 
Lai  e  Sale,  Paris,  18- 

e  Morant  '832. 

Tew  York. 


MEINDERT  HOBBEMA 

CONT.i 

47 

CASTLE  KOSTVERLOREN 

IN  the  centre  a  square  tower  o{  .  with  four* 

:bles,  rises  amid  crur  is  from  the  castle* 

■2  working  on  the  walls.  Near  the 
en?  drawbridge  are  two  large  trees  with 

autumn  t  nan  in  a  red  coat  -walk* 

ing  along  a  road.  Beyond  the  trees  a  cottage  and  gate  are 
visible,  and  behind  the  castle,  on  the  opposite  side  of  the 
moat,  woods.  White  clouds. 

Signed  in  the  >  ight^hand  come            Hobbema. 

Panel:  H.  22%  ir  "2  incb 

Smith,  No.  116. 

Collection  of  Fi'  Perkins. 

Lent  by  L  C.  D.  Bord>  rk. 


175 


MEINDERT  HOBBEMA 

CONTINUED 

47 

CASTLE  KOSTVERLOREN 

IN  the  centre  a  square  tower  of  red  brick,  with  fours 
step  gables,  rises  amid  crumbling  walls  from  the  castle* 
moat;  four  men  are  working  on  the  walls.  Near  tbe 
entrance  to  tbe  drawbridge  are  two  large  trees  witb 
autumn  foliage,  and  a  boy  witb  a  man  in  a  red  coat  walks 
ing  along  a  road.  Beyond  tbe  trees  a  cottage  and  gate  are 
visible,  and  behind  the  castle,  on  the  opposite  side  of  the 
moat,  woods.  ^Vhite  clouds. 

Signed  in  the  lower  right-hand  corner :  M.  Hobbema. 

Panel:  H.  22%  inches;  W.  29 V2  inches. 

Smith,  No.  116. 

Collection  of  Frederic  Perkins. 

Lent  by  Mr.  M.  C.  D.  Borden,  New  York. 


175 


MEINDERT  HOBBEMA 

CONTINUED 

48 

WOODED  LANDSCAPE 
"Holford  Landscape" 

FROM  the  central  foreground  a  road -winds  to  the  left 
through  a  grove  of  trees.  On  each  side  of  the  road  is 
a  pool  of  water;  to  the  right  a  steep  slope  overgrown 
with  young  trees,  a  footpath  running  along  the  crest;  at 
the  extreme  right  avistaof distant  fields.  In  the  centre  are 
two  men  and  a  woman;  back  of  this  group  a  fisherman, 
and  on  the  roads  at  the  right  and  left  other  figures.  The 
horizon  is  placed  at  about  one*third  of  the  picture's  height 
and  large  cumulus  clouds  are  drawn  in  the  sky. 

Signed  on  the  lower  right:  Meindert  Hobbema,  1663. 

Canvas:  H.  36  inches;  W.  50  inches. 

Smith  Suppl.,  Nos.  724,  725;  Waagen,  Vol.  II,  p.  202. 

Exhibited  British  Institution,  1840,  1851. 

Manchester  Art  Treasures,  1857. 

British  Institution,  1862. 

Royal  Academy,  London,  1887. 

Collection  of  Charles  Cobb  of  Dublin  until  1830. 

Collection  of  R.  S.  Holford,  London. 

Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 


176 


MEINDERT  HOBP        \ 

48 

WOODED  LANDSCAPE 

pe" 

d  a  road  winds  to  the  left 
h  side  of  the  road  is 
a  p  -i  slope  rown 

wi  s,  a  footpath  i  ong  the  crest : 

vightavistaoi  ire 

^herrr 

- 

he  lov. 

res,  1 8 
Br' 

Dublin  until  1830. 
York. 


*p 

HPSBbM  jjj&- 

'    ■ 

>  ■ 

---  ■     . 

|^b  ■  ... ■  .  ■:      . 
wi •■■■■■  ■■■'  < "    " 1 

99  - 

■    '<*           -   ■  -    '  ■  ' 

.»■■ 

■}3S 

- 

jjp 

'&" 

t 

^Bz> 

r 

■  -'<■ 

.  ■  ■ 

:     -  % 

Hfc& 

• 

0 

Jki 

# 

:■,                ;•:    .',* 

ST  • 

* 

SBi  BE."  > 

<- 

?•:■  ;     ;  n 

1 

""^S^Mi^^  ■-■' "'- 

B 

1 

■^f- 

-. .-' 

f 

1 

s^^^y^ 

h 

-    f 

V 

e 

>    ■ 

■ 

• 

1  i 

. 

|       ■ 

:  A 

4 

1 H 

,t 

1 

15 

i 


A 


am 

ad  ma 
Blue  sky  with 

Signed  on  the  k 

Panel:  H.  30m 

Probab 

are  some  v 

Catalogue 

Exhibited 

Collec'tio; 

land,  18 

Collect 


MEINDERT  HOBBEMA 

CONTINUED 

49 

COTTAGE  AMONG  THE  TREES 

A  PATH  winds  from  the  foreground  toward  the  diss 
tance;  on  both  sides  are  cottages  among  the  trees. 
At  the  left  in  foreground  a  large  group  of  trees,  through 
which  is  seen  a  trick  cottage  in  strong  sunlight.  At  the 
door  stand  a  man  and  a  boy.  In  the  shadow  of  the  trees 
a  man  in  a  red  jacket  reclines  at  the  feet  of  a  woman;  a 
second  man  stands  near  by.  Other  figures  in  the  road. 
Blue  sky  -with  white  clouds. 

Signed  on  the  lower  left:  M.  Hobbema,  1665. 

Panel:  H.  30  inches;  "W.  43V2  inches. 

Probably  identical  with  Smith,  No.  86,  although  there 

are  some  variations  in  the  description. 

Catalogue  of  Mr.  H.  C.  Frick's  paintings,  No.  19. 

Exhibited  at  the  Royal  Academy,  London,  1882. 

Collection  of 'William  Blathwayt,  near  Bristol,  Eng* 

land,  1834. 

Collection  of  G.W\  Blathwayt,  1882. 

Collection  o£ "W.T.  Blathwayt,  Durham  Park,  1901. 

Lent  by  Mr.  Henry  C.  Frick,  New  York. 


181 


MEINDERT  HOBBEMA 

CONTINUED 

50 

WOODED  ROAD 

THE  road  leads  from  the  left  of the  foreground  into  the 
distance,  branching  off  near  the  centre  to  two  cot* 
tages  at  the  left  standing  among  groups  of  oak  trees;  be* 
yond  the  trees  other  cottages.  At  the  left  in  the  shadow 
a  seated  woman  talking  with  a  man ;  beyond  a  group  of 
three  on  the  road,  and  in  the  distance  other  figures. 

Signed  on  the  left:  M.  Hobbema  f.  i 66- (the  last  figure 

illegible). 

Canvas:  H.  40  inches;  W.  50  inches. 

About  1665. 

Collection  of  Sir  Richard  Ford. 

Collection  of  Sir  Richard  Fowler. 

Sale  Sir  Richard  Fowler,  1892. 

Lent  by  Mrs.  William  L.  Elkins,  Philadelphia. 


[82 


MEINDERT  HOBBEMA 

51 

THE  WATER-MILL 
■"•Trevor  Land. 

A  WOODED  landscape  with  a  large  p. 
in  die  foreground  on  the  right  bank 
stream.  In  the  middle  distance  a  group  of  cot 
-rounded  by  trees;  beyond  the  mill 
:ht  sunlight;  at  1 1  at,  on  a  roa 

to  the  fc  a  boy.  .he  water 

in  a  blue  .  by  a  i 

stream.  On  the  left  a  sedgy  t  i  th  a  fallea 

a  wooden  fence.  A  gray,  clot 

Signed  in  the  left  corner:  M.  1  ,vtA  1667. 

Canvas:  H.  39  j  "W*  $r  3. 

The  cow  and  th  *  ?  s  of  the  man  and  worn 

Adriaen  van  de  :gures  arc 

bema. 

Exhibited  at  the  Royal  Acadf 

Collection  of  the  I  Baron  Tr 

Sale  Lady  Hampden,  London 

Collection  of  Jor  ilker  o: 

Collection  of  Sir  Edgar  Vine*- 

Lent  by  Mr  J.  Pierpont  Morgan 


187 


MEINDERT  HOBBEMA 

CONTINUED 

51 

THE  WATER=MILL 
"Trevor  Landscape" 

A  WOODED  landscape  with  a  large  group  of  trees 
in  the  foreground  on  the  right  bank  of  a  milk 
stream.  In  the  middle  distance  a  group  of  cottages  and 
a  mill  surrounded  by  trees;  beyond  the  mill  an  open 
space  in  bright  sunlight ;  at  the  right,  on  a  road  leading 
to  the  ford,  a  man  and  a  boy;  near  the  water  a  woman 
in  a  blue  skirt,  assisted  by  a  man,  leads  a  cow  into  the 
stream.  On  the  left  a  sedgy  bank  with  a  fallen  tree  and 
a  wooden  fence.  A  gray,  clouded  sky. 

Signed  in  the  left  corner:  M.  Hobbema  1667. 

Canvas:  H.  39  inches;  "W.  57 inches. 

The  cow  and  the  figures  of  the  man  and  woman  are  by 

Adriaen  van  de  Velde,  the  other  figures  are  by  Hob* 

bema. 

Exhibited  at  the  Royal  Academy,  London,  1882. 

Collection  of  the  fourth  Baron  Trevor  (1701^83). 

Sale  Lady  Hampden,  London,  1834. 

Collection  of  John  Walker  of  Bearwood. 

Collection  of  Sir  Edgar  Vincent,  London. 

Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 


187 


MEINDERT  HOBBEMA 

CONTINUED 

52 

ROAD  IN  THE  WOODS 

A  ROAD  in  the  centre  of  the  canvas  leads  through 
the  woods.  At  the  left,  beneath  a  group  of  trees  in 
autumn  foliage,  is  a  peasant's  cottage  with  a  girl  standing 
in  the  open  door  conversing  with  a  woman  and  child. 
On  the  road  beyond  the  cottage  are  two  pedestrians,  a 
vehicle  and  a  horseman ;  in  the  foreground  a  huntsman 
in  a  red  coat  with  two  dogs ;  on  the  right  a  small  hut. 

Signed  in  the  right  lower  corner:  M.  Hobbema. 
Canvas:  H.  36 inches ;V/.  50 inches. 

Lent  by  Mr.  George  J.  Gould,  New  York. 


:88 


RT  HOBBEMA 

hi 

OODS 

Agn 
•up  of  i. 
aut  Islanding 

in  rr  cnild. 


MEINDERT  HOBBEMA 

CONTINUED 

52 

ROAD  IN  THE  WOODS 

A  ROAD  in  the  centre  of  the  canvas  leads  through 
the  woods.  At  the  left,  beneath  a  group  of  trees  in 
autumn  foliage,  is  a  peasant's  cottage  with  a  girl  standing 
in  the  open  door  conversing  with  a  woman  and  child. 
On  the  road  beyond  the  cottage  are  two  pedestrians,  a 
vehicle  and  a  horseman ;  in  the  foreground  a  huntsman 
in  a  red  coat  with  two  dogs ;  on  the  right  a  small  hut. 

Signed  in  the  right  lower  corner:  M.  Hobbema. 
Canvas:  H.  36 inches ;"W.  50 inches. 

Lent  by  Mr.  George  J.  Gould,  New  York. 


[88 


Ml  HOBBEMA 


Ajgh 
up  of  trees  in 

.irk. 


PIETER  DE  HOOCH 

INUED 

54 

WC  D  CHILD  IN  COURTYARD 

A  NTT  wearing  a  light  brown 

and  a  white  aprcn  ever  a  red  skirt  is  ere, 
courtyar:  at  her  side.  She  carries  a  i 

basket  in  Her  a  jug  in  ber  left,  and  looks  at 

the  child,  wl  .mg  a  bird-cage.  Both  are  go; 

towards  a  pump  built  against  the  wall  in  the  left  fo 
ground.  In  the  middle  distance  the  town  wall  is  se:. 
above  which  are  tree*tops.  On  the  right  a  lady,  and  t 
gentlemen  wear  hats,  sit  under  an  arbor  dri; 

ing  wine. 

Signed  on  the  lc  t  hand:  P.  de  Hooch. 

Canvas:  H.  29  inches;  AV.  26  inches. 

About  1660. 

The  scene  is  laid  in  a  courtyard  near  the  city  w 

Delft. 

Hofstede  de  Gro> 

Lent  by  Mr.  P.  A.  B.  A  iia. 


[99 


PIETER  DE  HOOCH 

CONTINUED 

54 

WOMAN  AND  CHILD  IN  COURTYARD 

A  MAIDSERVANT  wearing  a  light  brown  jacket 
and  a  white  apron  over  a  red  skirt  is  crossing  a 
courtyard  with  a  little  girl  at  her  side.  She  carries  a  flat 
basket  in  her  right  hand,  a  jug  in  her  left,  and  looks  at 
the  child,  who  is  holding  a  birdscage.  Both  are  going 
towards  a  pump  built  against  the  wall  in  the  left  fore* 
ground.  In  the  middle  distance  the  town  wall  is  seen, 
above  which  are  tree*tops.  On  the  right  a  lady,  and  two 
gentlemen  -wearing  slouch  hats,  sit  under  an  arbor  drink* 
ing  wine. 

Signed  on  the  lower  left  hand:  P.  de  Hooch. 

Canvas:  H.  29  inches;  "W.  26  inches. 

About  1660. 

The  scene  is  laid  in  a  courtyard  near  the  city  wall  at 

Delft. 

Hofstede  de  Groot,  No.  294. 

Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 


[99 


PIETER  DE  HOOCH 

CONTINUED 

55 

THE  BED  ROOM 

A  YOUNG  woman  in  a  red  bodice  with  a  white 
kerchief  over  her  head  stands  on  the  right  taking 
some  clothes  from  a  wooden  box*bed  and  throwing 
them  over  a  chair.  She  stands  in  profile  and  smiles  at  a 
little  girl  in  the  open  doorway  on  the  left,  who  holds  an 
apple  in  her  hand.  The  child's  figure  is  illuminated  from 
a  high  window  on  the  left  and  from  a  door  in  the  back* 
ground.  This  door  leads  from  a  little  anteroom  into  the 
open,  where  ■walls  and  garden  hedges  are  visible.  In  the 
left  foreground  a  table  with  a  jug.  On  each  side  of  the 
door  a  chair. 

Canvas:  H.  20  inches; "W.  23  inches. 

About  1660. 

A  nearly  identical  picture  hangs  in  the  Museum  at  Karls* 

ruhe.  Both  pictures  are  originals. 

Waagen,  Vol.  II,  No.  71 ;  Hofstede  de  Groot,  No.  78. 

Sale  S.  T.  Stinstra,  Amsterdam,  1822. 

Sale  Lord  Radstock,  London,  1826. 

Collection  of  Lord  Stafford,  London. 

Collection  of  C.  Scarisbrick,  London,  1861. 

Sale  Adrian  Hope,  London,  1894. 

Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 


200 


in  a  red  bodice  with  a  wl 

inds  on  the  right  taking 

a  box^bed  and  throwing 

A  smiles  at  a 

lo  holds  an 

;lfrom 

OT 

ceroom  into  the 


No.  78. 

a. 
ondon,  1861. 
4. 

r,  Philadelphi 


in  a  red  bodk  \  a  white 

;ht  taking 

i  and  throwing 

miles  at  a 

Holds  an 

.1  from 

iteroom  into  the 


als. 

t,  No.  78. 

1  ' 

186 

Philadelph 

PIETER  DE  HOOCH 

CONTINUED 

CAVALIERS  A  ADIES 

ACA  '  dressed  in  black  stands  in  the  middle 

ith  marble*tiled  floor  and  a  high  v. 
dow,  in  con  v  ri  with  a  lady  seated  on  his  left  holding 

a  glass  of  v  j  entleman  r  seated  at  the  table. 

Apagein  redholdii  in  his  hand  stands  behind  I 

lady  on  the  left.  On  ht,  aladyinblue  and  a  gentle* 

man  in  light  brown  bis  back  toward  the  spectator, 

arc  at  the  tab:  The  light  falls  from 

the  -window,  thi  oh  two  houses  are  visible,  and 

from  another  wind  .he  left  which  is  concealed  by 

a  cupboard.  The  rith  Flemish  tapestries, 

and  a  hed  with  ghigs  stands  against  the  wall 

at  the  right. 

Signed  on  the  lower  right  hand:  P.  de  Hooch. 

Canvas:  H.  z&A  s;W.  30V2  inches. 

About  1665. 

Hofstede  de  Groot.  No.  217. 

Sale  La  Neuville,  Paris,  18 

Lent  by  Mr.  Willian  New-  York. 


205 


PIETER  DE  HOOCH 

CONTINUED 

56 

CAVALIERS  AND  LADIES 

AC  AVALIER  dressed  in  black  stands  in  the  middle 
of  a  room,  with  marblestiled  floor  and  a  high  win* 
dow,  in  conversation  with  a  lady  seated  on  his  left  holding 
a  glass  of  wine.  A  gentleman  in  gray  seated  at  the  table. 
A  page  in  red  holding  a  jug  in  his  hand  stands  behind  the 
lady  on  the  left.  On  the  right,  a  lady  in  blue  and  a  gentle? 
man  in  light  brown,  with  his  back  toward  the  spectator, 
are  seated  at  the  table  playing  cards.  The  light  falls  from 
the  window,  through  which  two  houses  are  visible,  and 
from  another  window  at  the  left  which  is  concealed  by 
a  cupboard.  The  walls  are  hung  with  Flemish  tapestries, 
and  a  bed  with  green  hangings  stands  against  the  "wall 
at  the  right. 

Signed  on  the  lower  right  hand:  P.  de  Hooch. 

Canvas:  H.  26  V&  inches; "W.  30V2  inches. 

About  1665. 

Hofstede  de  Groot,  No.  217. 

Sale  La  Neuville,  Paris,  1813. 

Lent  by  Mr.  William  T.  Blodgett,  New  York. 


205 


PIETER  DE  HOOCH 

CONTINUED 

57 

THE  MUSIC  PARTY 

ON  a  terrace  leading  at  the  rear  into  a  park  and  shels 
tered  by  a  curtain  looped  against  a  pillar,  a  young 
lady  is  seated  singing ;  she  -wears  a  white  silk  dress  and 
marks  time  with  her  right  hand.  A  cavalier  seated  at  the 
opposite  side  of  the  table  accompanies  her  on  the  lute. 
A  young  lady,  dressed  in  blue,  stands  resting  her  hand 
on  the  table,  which  is  covered  with  a  dark*red  Persian 
rug ;  another,  dressed  in  red,  carrying  a  small  lute  in  her 
right  hand,  advances  through  a  door  on  the  right.  Be? 
yond  the  park  a  building  resembling  the  Amsterdam 
Town  Hall  is  visible.  Evening  sky. 

On  the  right  hand  the  monogram  P.  H. 

Canvas:  H.  16%  inches ;"W.  32%  inches. 

About  1665*70. 

Smith,  Suppl.,  No.  13;  Hofstede  de  Groot,  No.  136. 

Sale  Nieuwenhuys  (Brussels)  in  London,  1833. 

Sale  Count  R.  de  Cornelissen,  Brussels,  1857. 

Sale  Gilkinet,  Paris,  1863. 

Sale  Vicomte  de  Buisseret,  Brussels,  1891. 

Collection  of  Baron  Konigswarter  in  Vienna. 

Lent  by  Mr.  M.  C.  D.  Borden,  New  York. 


206 


WILLEM  KALF 

BORN  in  A:  am  in  1621  or  r 

1693.  Pu  ndrick  Pot.  At  tim 
influence  o{  '  Painter  of  interiors 

scale  and  of  still  I 

S  LIFE 

A  chased  silver  dish 

blue,  containing  a  kail  i  lemon,  a  peach,  a  1 

and  some  grapes,  stand  ole  covered  with  a  Smy . 

clc                   1  them  a  s  i  aker  and  a  Venc 

containing  wine.  In  ti  foreground  a  high  gol 

cup,  its  cover  lying  he  ,  a  silver  sugar^box  an 

second  Venetian  glass  he  corner  of  the  table  i 

watch.  The  gold  and  si]  ?sels  are  excellent  exam: 

of  the  Dutch  and  Ger  Renaissance. 

Signed  on  the  lower  le  I  iv  (the  K  and  the  Christ 

name  hidden)  1662. 

Canvas :  H.  46  inches ;  W .  40  inches. 

A  work  of  similar  styl  ed  in  the  same  year 

Berlin  Museum. 

Lent  by  Mr.  John  G.  Johnso:  .delphia. 


211 


WILLEM  KALF 

BORN  in  Amsterdam  in  1621  or  1622.  Died  about 
1693.  Pupil  of  Hendrick  Pot.  At  times  under  the 
influence  of  Rembrandt.  Painter  of  interiors  on  a  small 
scale  and  of  still  life. 

58 

STILL  LIFE 

A  chased  silver  disk  and  a  Chinese  bowl,  decorated  in 
blue,  containing  a  half  peeled  lemon,  a  peach,  a  melon 
and  some  grapes,  stand  on  a  table  covered  with  a  Smyrna 
cloth ;  behind  them  a  shell  beaker  and  a  Venetian  glass 
containing  wine.  In  the  left  foreground  a  high  golden 
cup,  its  cover  lying  beside  it,  a  silver  sugar^box  and  a 
second  Venetian  glass.  On  the  corner  of  the  table  is  a 
watch.  The  gold  and  silver  vessels  are  excellent  examples 
of  the  Dutch  and  German  late  Renaissance. 

Signed  on  the  lower  left:  Kalf  (the  K  and  the  Christian 

name  hidden)  1662. 

Canvas :  H.  46  inches ;  "W.  40  inches. 

A  work  of  similar  style  painted  in  the  same  year  in  the 

Berlin  Museum. 

Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 


211 


PHILIPS  KONINCK 

BORN  at  Amsterdam,  1619.  Died  there  in  1688.  Pupil 
of  Rembrandt.  Worked  at  Amsterdam,  sometimes 
at  Rotterdam.  Painter  and  etcher  of  landscapes,  portraits 
and  genre. 

59 

THE  DUNES 

"The  Valley  of  the  Rhine  near  Arnheim" 

In  the  foreground  a  road  leads  through  a  park  beyond  a 
building  with  a  cupola.  On  the  left  of  a  stream  of  water 
rises  a  steep  bank  on  the  other  side  of  which  is  a  hollow, 
with  trees  and  houses  in  deep  shadow.  In  the  middle 
distance  other  houses.  The  plain  stretching  out  toward 
the  horizon  is  traversed  by  the  winding  river.  On  the 
right,  in  the  distance,  the  dunes.  In  the  foreground  a  man 
fishing  on  the  banks  of  the  stream,  a  man  with  a  panier 
and  a  peasant  with  a  bundle  on  her  head.  Broad  expanse 
of  sky  -with  clouds  which  cast  irregular  shadows  over 
the  plain. 

Canvas:  H.  52 V4  inches; "W.  66!4  inches. 

Lent  by  Sir  William  van  Home,  Montreal. 


212 


Ph  NCK 

BORN  n  1688.  Pupil 

Jterdam,  som . 
at  I  s  nd  etcher  of  landscapes,  portraits 

59 

_igh  a  park  id  a 

iter 


ird 

panier 

^d  expanse 

i  cast  hadows  over 

\ches. 
an  Horne,  Montreal. 


DI' 


B 


Jar? 

dam  a-  portrait  p 


60 


THE  GAY  ALIERS 

A  youtb,  drinki 

little  table  onwbich  a  Kgbt  is  burning.  He 

blue  trousers  and  a  dark  brown  coat, 

stands  on  tbe  rig]  \  a  pipe  alol 

band  and  in  tbe  mverted  beer*jug.  h 

from  bead  to  foot  at  red.  Under  nis  coa' 

a  glimpse  of  a  bl  itcoat  and  open  sbirt 
background. 

Canvas :  H.  34  h  *V.  281/2  incbes. 

Hoogendycl-  n,  Tbe  Hagu 

Lent  by  hn  G.  Jobnso 


JUDITH  LEYSTER 

BORN  probably  at  Haarlem  about  1600*05.  D^d  about 
1660.  Pupil  of  Frans  Hals.  Wife  of  the  genre  painter 
Jan  Miense  Molenaer.  Worked  at  Haarlem,  Amster* 
dam  and  Heemstede.  Genre  and  portrait  painter. 


60 


THE  GAY  CAVALIERS 

A  youtb,  drinking  out  of  a  jug,  is  seated  at  tbe  left  of  a 
little  table  on  wbicb  a  ligbt  is  burning.  He  wears  ligbt 
blue  trousers  and  a  dark  brown  coat.  His  companion 
stands  on  tbe  rigkt  singing,  Holding  a  pipe  aloft  in  bis  rigbt 
band  and  in  tbe  left  an  inverted  beersjug.  He  is  clotbed 
from  bead  to  foot  in  brigbt  red.  Under  bis  coat  one  catcbes 
a  glimpse  of  a  blue  waistcoat  and  open  sbirt.  Dark  gray 
background. 

Canvas :  H.  34  incbes ;  "W.  28 V2  incbes. 
Hoogendyck  Collection,  Tbe  Hague. 

Lent  by  Mr.  Jobn  G.  Jobnson,  Pbiladelpbia. 


217 


NICOLAES  MAES 

BORN  at  Dordrecht,  1632.  Died  at  Amsterdam,  1693. 
Pupil  of  Rembrandt  about  1648*52;  later  while  at 
Antwerp  be  came  under  the  influence  of  the  Flemish 
and  French  portrait  painters.  Worked  at  Dordrecht  and 
Amsterdam.  Genre  and  portrait  painter. 

61 

PORTRAIT  OF  A  MAN 

Threesquarters  length.  Standing,  the  figure  turned  slightly 
to  the  left,  facing  the  spectator.  He  has  long  dark  hair ; 
his  right  hand  rests  on  a  stone  pedestal,  and  the  left  is  in 
the  folds  of  a  black  cloak  finished  at  the  neck  with  a  lace* 
trimmed  collar. 

Canvas:  H.  49  inches;  "W.  38V2  inches. 
About  1670. 

Lent  by  Mr.  Thatcher  M.  Adams,  New  York. 


218 


COLAES  MAES 

Amsterdam,  1693. 

about  later  while  at 

f  the  Flemish 

Dordrecht  and 


USI 


s,  New  York. 


: 

62 

WOMAN 

HALF^LENC 
\n  old 
table  upon  wnicn  her  reads 

She  wears  a  red  bodi.  I  ack  cap  an 

ermine  wrapped  abc  iers.  7 

ered  with  an  Orient  \nd  on  it  are  i 

two  bound  in  bL 
background. 

Panel:  H.  29V2  i 
About  1650*55. 
Formerly  attribu 

Lent  by  Mr 


NICOLAES  MAES 

CONTINUED 

62 

OLD  WOMAN 

HALF-LENGTH,  the  figure  turned  slightly  to  the 
left.  An  old  woman  with  eye-glasses,  seated  at  a 
tahle  upon  which  her  arms  rest,  reads  from  an  open  book. 
She  wears  a  red  bodice  and  a  black  cap  and  has  a  cape  of 
ermine  "wrapped  about  her  shoulders.  The  table  is  cov* 
ered  with  an  Oriental  carpet  and  on  it  are  three  books, 
two  bound  in  black  leather  and  one  in  vellum.  Gray 
background. 

Panel:  H.  29 V2  inches;  W.  28  inches. 

About  16505=55. 

Formerly  attributed  to  Jan  Lievens. 

Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 


223 


GABRIEL  METSU 

BORN  at  Leyden,  1629=30.  Died  at  Amsterdam,  1667. 
Probably  a  pupil  of  Gerard  Dou;  later  under  the  in* 
fluence  of  Rembrandt  andTerborch.  V/orked  at  Leyden 
and  Amsterdam.  Painter  of  genre,  religious  and  mytho* 
logical  subjects. 

63 

A  MUSIC  PARTY 

In  the  centre,  at  the  left  of  a  table,  a  seated  lady,  dressed 
in  orange  silk  with  a  blue  shawl  around  her  shoulders, 
holds  a  lute  in  her  left  hand  as  she  hands  a  cavalier  stand* 
ing  behind  her  a  sheet  of  music ;  he  leans  against  an  open 
window,  with  his  back  to  the  light,  and  wears  a  black 
cap  with  a  red  feather  and  a  dark  red,  gold*embroidered 
jacket;  on  the  right  a  fair*haired  cavalier,  in  a  black  cos* 
tume,  tunes  a  'cello.  In  the  background  some  steps  lead 
to  a  room  beyond,  where  a  maidservant  in  a  blue*gray 
dress  stands  in  the  door.  On  the  left,  over  the  window, 
a  dark  gray*blue  curtain. 

Signed  on  a  music*stand  on  the  floor:  G.  Metsu  1659. 

Canvas:  H.  24  inches;  W\  21  inches. 

Smith,  No.  53;  Hofstede  de  Groot,  No.  164. 

Described  by  Descamps  (II)  in  the  Voyer  Collection. 

Exhibited  at  the  Royal  Academy,  London,  1832. 

Sale  E.  Hooft,  widow  of  "W.  Valkenier,  Amsterdam, 

1796. 

Sale  Robit,  Paris,  1801. 

Sale  Zachary,  London,  1828. 

Property  of  The  Metropolitan  Museum  of  Art, 
New  York. 


224 


GABRIEL  METSU 

BLeydeo  1667. 

he  in* 
<:d  at  Leyden 
^nre,  religious  and  mytho* 

A  [C  PARTY 

In  .  ady,  dressed 

er  shoulders, 

ho:  lier  stand* 

in^  -*  an  open 

h  his  back  to  th  black 

cap  i  feather .  ~ed 


ighta 

in  a  bl 

ps  lead 

om  beyc 

i 

:  Voyer  Collection. 
,  London,  1832. 

-Jkenier,  Amsterdam, 

Sale  Zachary,  L*.  ;8. 

Property  of  m  of  Art, 

New  York. 


224 


sit 
stands  her  h 
and  blue  ribbo; 
enters  the  roc 
chair  and  a  fc 
with  short  sl<. 
skirt  and  a 

right  a  table  cov- 
carpet.  Behind  tht 
the  style  of 

Signed  above  the  door : 
Canvas:  H.  30 inches; 
Described  by  Houbrak 
Smith,  No.  19;  Hofs; 
Probably  the  picture 
Hinloopen,  which  v 
?an  Vos  in  16 
In  the  possession  of  J. 
by  Houbraken  (befi 
Sale  at  Amsterdam 
Sale  D.  Ietswaai  t 
Sale  G.  Braamcc 
Sale  Due  de  W 
Collection  of 

Len  York. 


GABRIEL  METSU 

CONTINUED 

64 

A  VISIT  TO  THE  NURSERY 

AT  the  right  a  young  mother  with  a  red  velvet  jacket 
sits  in  profile,  holding  her  infant.  At  her  right 
stands  her  husband  in  a  gray  doublet  with  slashed  sleeves 
and  blue  ribbons,  raising  his  hat  to  salute  a  lady,  who 
enters  the  room  followed  by  a  maidservant  carrying  a 
chair  and  a  foot*warmer ;  the  lady -wears  a  silk  overdress 
with  short  sleeves  and  red  ribbons,  a  silversembroidered 
skirt  and  a  black  veil.  At  the  back  sits  the  old  mother 
with  her  right  hand  on  the  green^covered  cradle.  On  the 
right  a  table  covered  with  a  bright  red  and  blue  Ispahan 
carpet.  Behind  the  group  is  a  chimneypiece  -with  a 
marine  in  the  style  of  Everdingen  hanging  above  it. 

Signed  above  the  door:  G.  Metsu  1661. 

Canvas:  H.  30  inches ;  W\  31I/2  inches. 

Described  by  Houbraken  (III,  40)  and  Descamps. 

Smith,  No.  19;  Hofstede  de  Groot,  No.  no. 

Probably  the  picture,  then  in  the  cabinet  of  Jan  Jacobsz. 

Hinloopen,  which  was  the  inspiration  of  the  poem  writ* 

ten  by  Jan  Vos  in  1662. 

In  the  possession  of  Jan  de  Wolf,  The  Hague,  when  seen 

by  Houbraken  (before  1718). 

Sale  at  Amsterdam,  1706. 

Sale  D.  Ietswaart,  Amsterdam,  1749. 

Sale  G.  Braamcamp,  Amsterdam,  1771. 

Sale  Due  de  Morny,  Paris,  1865. 

Collection  of  Rodolphe  Kann,  Paris. 

Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 

229 


AERT  VAN  DER  NEER 

BORN  at  Amsterdam  in  1603.  Died  there  in  1667.  In* 
fluenced  by  Jan  van  Goyen  and  Esaias  van  de  Velde. 
Began  painting  rather  late,  his  earliest  work  1635.  Until 
this  time  he  was  the  servant  of  Heer  van  Arckel.  V/orked 
at  Amsterdam.  Painter  of  night  and  winter  scenes. 

65 

SUNSET 

A  canal  leading  toward  the  distance,  with  village  houses 
on  either  side ;  at  the  right  of  the  background  is  a  church, 
and  in  the  middle  distance  a  boat  with  four  men.  At  the 
left  a  windmill,  and  in  the  foreground  a  point  of  land 
running  out  into  the  water,  where  two  men  sl;and  looks 
ing  toward  the  horizon ;  near  them  a  fisherman  is  seated. 

Signed  on  the  left  with  the  monogram  A  V  D  N 
Panel:  H.  10,1/2  inches ;"W.  311/2  inches. 

Lent  by  Mr.  Theodore  M.  Davis,  Newport. 


230 


DER  NEER 

[603.  Died  therein  1667.  In* 

vandeVelde. 

635.  Until 

:kel.  Worked 

.  enes. 


\emaf<  a  ted. 

iewpoi 


AERT  VAN  DER  NEER 

CONTINUED 

66 

SUNSET 

A  CANAL  leads  from  the  foreground  toward  the 
horizon.  At  the  right  a  wooded  hank,  in  front  o£ 
which  is  a  sailboat.  On  a  road  at  the  left,  village  houses 
and  a  church;  trees  with  autumn  foliage.  At  the  right 
of  the  foreground  are  a  rowhoat  and  a  man  wearing  a 
red  cap.  The  deepsblue,  slightly«clouded  evening  sky  is 
bright  at  the  horizon  with  the  yellow  light  of  the  set? 
ting  sun,  -which  is  reflected  in  the  water. 
Signedon  theleftof  the  foreground  with  themonogram 
AVDN 

Panel:  H.  i21/2  inches ;W.  15%  inches. 

Lent  by  Mr.  Ferdinand  Hermann,  New  York. 


235 


AERT  VAN  DER  NEER 

CONTINUED 

67 

THE  FARRIER 

A  STREAM  of  water  broadening  out  toward  the 
horizon,  showing  the  reflection  of  the  moon.  On 
the  left,  in  the  shadow,  a  blacksmith's  shop  where  the 
smith  is  seen  working  near  a  fire.  On  the  right  an  ave* 
nue  of  trees  and  in  the  foreground  a  woodpile ;  near  an 
open  fire  stand  two  boys  and  a  man  smoking. 

In  the  left*hand  corner  the  monogram  A  V  D  N. 
Panel:  H.  19  inches; "W.  24 %  inches. 

Property  of  The  Metropolitan  Museum  of  Art, 

New  York. 


236 


AERT  VAN  DER  NEER 

CO  HD 

67 

*RIER 

Aiening  out  toward  the 
horizon,  she  :>n  of  the  <  On 

the  \  the  shac  h's  she 

smith  working  near  a  fire.  On  the 

nue  offerees  and  in  the  .an 

opt  tand  two  bo> 

In 

opolitc 


AERT  VAN  DER  NEER 

CO  HD 

67 

*RIER 

Ang  out  toward  the 
On 
tK'  h's  shop  where  the 

smith  work; 

an 
op*. 

In 

*5  polite 
New 


A        \EN  \  TADE 

BORN 
Frans  Ha 
Rembrandt, 
of  genre  scenes. 

THE  OLD  FIDDLER 

Through  an  open  shed  is  seen  an  adjoining  cotta^ 
e  which  an  old  fi  n  a  blue  coat,  plays  to  o 

of  children;  an  old  won  halfopen  doc;    . 

2   at  the  left  a  group  of  children  thro  * 
and  near  them  a  dog  and  some  poultry.  In  the  shadow 
the  building  at  the  right,  three  men  are  seated  at  a 
one  pouring  wine  from  a  flagon ;  beside  them  a  laugh 
woman;  at  the  ext,  "gbt,  in  deep  shadow,  s 

Signed  at  the  lower  .  v  Ostade  1641 

Canvas :  H.  26  inches;  W\  33  inches. 

Property  of  The  Metropc  m  of  A 

New  Yc; 


241 


ADRIAEN  VAN  OSTADE 

BORN  at  Haarlem,  1610.  Diedthereini685.  Pupil  of 
Frans  Hals  and  influenced  by  Brouwer  and  later  by 
Rembrandt.  Worked  at  Haarlem.  Painter  and  etcher 
of  genre  scenes. 

68 

THE  OLD  FIDDLER 

Through  an  open  shed  is  seen  an  adjoining  cottage,  he* 
fore  which  an  old  fiddler,  in  a  blue  coat,  plays  to  a  group 
of  children ;  an  old  woman  leans  on  the  half  open  door  of 
the  cottage ;  at  the  left  a  group  of  children  throwing  dice, 
and  near  them  a  dog  and  some  poultry.  In  the  shadow  of 
the  building  at  the  right,  three  men  are  seated  at  a  table, 
one  pouring  wine  from  a  flagon;  beside  them  a  laughing 
woman;  at  the  extreme  right,  in  deep  shadow,  an  old 
pump. 

Signed  at  the  lower  left:  A  v  Ostade  1641 
Canvas:  H.  26  inches; "W.  33  inches. 

Property  of  The  Metropolitan  Museum  of  Art, 
New  York. 


241 


ADRIAEN  VAN  OSTADE 

CONTINUED 

69 

THE  COTTAGE  DOORYARD 

ON  the  right  a  vine*covered  cottage  with  an  open 
casement;  at  its  side  a  chicken*coop  and  pigeon? 
house,  which  adjoin  a  wall  surmounted  by  a  picket  fence 
extending  to  the  left.  Leaning  against  the  open  door  of 
the  wall  stands  a  peasant  looking  at  an  old  woman  who 
sits  at  his  left  preparing  vegetables ;  at  his  right,  a  woman 
and  child.  In  the  foreground  a  girl  in  a  blue  bodice  and  a 
yellow  skirt  watches  a  boy  playing  with  a  dog.  At  the 
extreme  right  some  red  and  -white  clothes  are  hung  on 
a  line,  and  lying  on  the  chicken*coop,  near  them,  are  a 
bunch  of  carrots  and  a  towel. 

Signed  at  the  left  of  the  foreground:  A  v  Ostade  1673. 

Canvas:  H.  17%  inches;  "W.  15%  inches. 

Exhibited  at  the  Royal  Academy,  London,  1 8 1 5 ;  at  Man* 

chester,  1857. 

Smith,  No.  188;  Waagen,  Vol.  II,  p.  119;  Burger  (Man* 

chester),  No.  315. 

Collection  of  Thomas  Hope,  London,  1829. 

Collection  of  Lord  Francis  Pelham  Clinton  Hope,  Deep* 

dene. 

Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 


242 


' 


c 


OSTADE 

69 

>TTAGE  DOORYARD 

/ith  an  open 

and  pigeon* 

:  surmounted  by  a  picket  fence 

open  door  of 

inwKo 

it  his  r.  wman 

anda 

•e  a 


1  i.  iVldal^ 

r.  Burger  (Man* 

i  ham  Clinton  Hope,  Deep* 
.  B.  Widener,  PhiladelpKi 


\ 


B 


ORNa- 
of  his  b 


T 

At  the  front  of  ai  i  th  a  ch 

in  the  back 

tlerr 

j 

a  blue  velvet  saddlec 
righ  'ted on  a  a. 

ing  fodder  in  a  trc  the  right  a 

a  bench  eating  soup ; 

before  a  small  cottag  and  a 

two  children. 

Signed  on  tbe  right  n  Ostade  1645. 

Canvas:  H.  19V2  finches. 

Smith  Suppl.,  N: 
Collection  of  the 

Lent  by  h 


B 


ISACK  VAN  OSTADE 

ORN  at  Haarlem,  1621.  Died  there  in  1649.  Pup^ 
of  his  brother  Adriaen.  Worked  at  Haarlem. 


70 


THE  HALT 

At  the  front  of  an  inn  on  the  right,  with  a  church  steeple 
in  the  background,  several  horsemen  have  halted ;  a  gen* 
tleman,  who  has  just  dismounted  from  a  gray  horse  with 
a  blue  velvet  saddlecloth,  converses  with  another  at  his 
right,  mounted  on  a  dun*colored  horse,  while  a  peasant  is 
putting  fodder  in  a  trough.  On  the  right  a  man  sitting  on 
a  bench  eating  soup ;  at  the  left  other  figures  and  poultry 
before  a  small  cottage.  In  the  foreground  a  woman  and 
two  children. 

Signed  on  the  right:  Isack  van  Ostade  1645. 
Canvas:  H.  19V2  inches;  V/.  finches. 
Smith  Suppl.,  No.  177. 
Collection  of  the  Duchesse  de  Berri,  1837. 

Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 


247 


ISACK  VAN  OSTADE 

CONTINUED 

71 

COTTAGE  SCENE 

BEFORE  a  cottage  shaded  by  trees  a  sled,  drawn  by  a 
white  horse,  from  which  three  men  are  unloading 
casks,  while  a  fourth  arranges  a  feed*box  for  the  horse ; 
three  children  are  watching  them.  The  cottager  stands 
in  the  doorway  looking  at  his  wife,  who  is  sitting  out* 
side  with  two  children  and  a  dog ;  near  her  a  traveler  is 
seated  on  a  cask.  Other  figures  in  the  window  of  the 
house  and  on  the  left.  Further  back  a  cottage  is  seen 
among  the  trees.  The  figures  are  costumed  in  pale  blues 
and  yellows  with  touches  of  red.  Warm  golden  after* 
noon  light. 

Signed  on  the  right :  I .  v.  Ostade  i  6-(the  last  two  figures 

illegible). 

Canvas:  H.  21%  inches; "W.  jiVs  inches. 

About  1640*50. 

Lent  by  Mr.  William  T.  Blodgett,  New  York. 


248 


-,.  . 

**     -  1 

iif 

1 

1 

■pK               u        ft-            vM 

M  f^mi7 — 

rvj 

■:, 

^__                 ''-•'    ^  ^P      ^feSfcfcSBP*   ^'           '"•*'  t* 

f .  .  fsi  "-IB 

1                         ^'    l^SHtt&^V  q       ^H 

i-- 

r»  - 

i^^BMl' 

I'"    -v                   P\  7"~ 

pi^*a 

^#  H 

■  i           KX^f  UtJ 

-£ 

■" 

' 

1                               • 

* 

5  POTTER 

BORJN  )ied  e                         i  in 

1654  _r  Pott                    ob 

deW  he  Hague  a 

at.  Uer  of  landsc 

SCENE 

;ght,  where  a  man  a. 
a  win  the  left  of  th 

a  tree,  near  whl elding  a  nurr 

child;  beyond  her  a  m<r.  boy  to  mount  a  not 

At  the  left  a  distant  me  attle  in  sunlight.  In- 

the  foreground  a  do:  e  poultry. 

Signed  on  the  left:  P 

Panel:  H.  i/inchc 

Sn  0. 87. 

Exhibited  in  the  Brir 

Collection  of  Ph:  x834- 

Collection  of  Ad* 

Lent  by .  phia. 


253 


'v&i- 


PAULUS  POTTER 

BORN  at  Enkhuizen,  1625.  Died  at  Amsterdam  in 
1654.  Pupil  of  his  father,  Pieter  Potter,  and  Jacob 
de  Wet.  W'orked  at  Delft,  The  Hague  and  from  1652 
at  Amsterdam.  Painter  and  etcher  of  landscapes  and 
animals. 

72 

BARNYARD  SCENE 

A  barnyard -with  a  stable  at  the  right,  where  a  man  and 
a  white  horse  stand  in  the  door;  at  the  left  of  the  door 
a  tree,  near  which  a  woman  stands  holding  a  nursing 
child;  beyond  her  a  man  helps  a  boy  to  mount  a  horse. 
At  the  left  a  distant  meadow  with  cattle  in  sunlight.  In 
the  foreground  a  dog  and  some  poultry. 

Signed  on  the  left:  Paulus  Potter  f.  1647 

Panel:  H.  17 inches; "W.  14%  inches. 

Smith,  No.  87. 

Exhibited  in  the  British  Gallery  in  18 15. 

Collection  of  Philip  Henry  Hope,  London,  1834. 

Collection  of  Adrian  Hope,  sold  in  London,  1894. 

Lent  by  Mrs.  William  L.  Elkins,  Philadelphia. 


253 


PAULUS  POTTER 

CONTINUED 

73 

CATTLE  IN  PASTURE 

ON  a  dark  green  slope  in  the  foreground,  under  an 
oak  tree  at  the  left,  stands  a  brindled  cow;  at  its  right 
three  other  cows,  two  standing  and  a  white  one  lying  on 
the  turf.  On  the  right,  in  a  clear  light,  a  distant  meadow 
where  other  cattle  are  grazing.  On  the  horizon  a  small 
village  among  trees.  Cloudless  sky. 

Panel:  H.  1^/4  inches; "W.  22%  inches. 

Lent  by  Mr.  Leon  Hirsch,  New  York. 


254 


Rembran 


BORNinl 

burgh  itx  Leyden, 
dam.  I  )  Le- 


an 


subj.. 

genre  pictures. 


i  jJa,  wl 


PORTRAIT  OF  HIM 

Bust,  turned  to  the  right.  H  ■ 
coat  with  a  reddish  vest 

On  the  right  side  the  mono 

Panel :  H.  85/e  inches ;  W  ches. 

Painted  about  1628. 

Collection  of  King  Leop* 

Lent  by  Mr.  J.  Pier 


Rembrandt  Harmensz  Van  Rijn 

BORN  in  Leyden,  July  15, 1606.  Died  in  Amsterdam, 
October  4, 1669.  Studied  under  Jacob  van  Swanen* 
burgb  in  Leyden,  and  under  Pieter  Lastman  in  Ambers 
dam.  Lived  in  Leyden  till  1631,  then  in  Amsterdam.  In 
1634  be  married  Saskia  van  Uilenburgb,  who  died  in 
1642.  His  second  wife  was  Hendrickje  StofFels,  who 
died  in  1 663 .  Painter  and  etcher  of  portraits  and  religious 
subjects,  and  of  mythological,  allegorical,  historical  and 
genre  pictures. 

74 

PORTRAIT  OF  HIMSELF 

Bust,  turned  to  the  right.  He  -wears  a  flat  cap  and  a  brown 
coat  "with  a  reddish  vest  finished  with  a  neckband. 

On  the  right  side  the  monogram  R  H  L  (almost  illegible). 

Panel:  H.  85/s  inches ; "W.  65/s  inches. 

Painted  about  1628. 

Collection  of  King  Leopold,  Belgium. 

Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 


259 


REMBRANDT 

CONTINUED 

76 

PORTRAIT  OF  HIMSELF 

BUST,  turned  to  the  right.  He  wears  a  soft  cap  with  a 
plume  and  a  dark  cloak  with  a  soft  neckband.  Around 
the  shoulders  a  gold  chain  with  a  medallion. 

Signed  at  the  left  with  the  monogram  R  H  L.  163 1 

Panel:  H.  32I/8  inches; "W.  26  inches. 

From  an  English  collection. 

Klass.  d.  K.,  p.  33;  Onze  Kunst,  1907. 

Lent  by  Mr.  E.  D.  Libbey,  Toledo. 


260 


1BRANDT 


F  HIMSELF 

\*J  plume  <i 

s  a  soft  cap  witn  a 

and 

E  D. 

REMBRANDT 

CONTINUED 

7b 

PORTRAIT  OF  HIMSELF 

BUS  ed  to  tbe  left,  tbe  head  facing  the  sj: 

A  dar I  e  cap,  with  a  blue-black  cock'r 

on  the  darl z  vn  cloak  over  which 

gorge  t  with  a  ;en  neckscloth  above  it.  Ui 

cloak  a  triple  gold  s  seen  across  a  dark  brown  c 

let.  Graybackgr 

Signed  halfway  panel  on  the  left  with  tl 

gram  R  H  L 163 1 

Panel:  H.  22%  it.  es. 

Bode  R.,  No.  ^F  ,  p.  49. 

Collection  of  Job  t,  London,  1904. 

Collection  of  Jhr  eixeira  de  Matt 

dam. 

Lentb  nk  G.Logan 


265 


REMBRANDT 

CONTINUED 

76 

PORTRAIT  OF  HIMSELF 

BUST,  turned  to  the  left,  the  head  facing  the  spectator. 
A  dark  purple  cap,  with  a  blue*black  cock's  feather, 
on  the  dark  hair.  Dark  brown  cloak  over  which  is  a  &eel 
gorget  with  a  dull  green  neckcloth  above  it.  Under  the 
cloak  a  triple  gold  chain  is  seen  across  a  dark  brown  doub* 
let.  Gray  background. 

Signed  halfway  up  the  panel  on  the  left  with  the  mono* 

gram  R  H  L 1631. 

Panel:  H.  22%  inches;^/.  17%  inches. 

Bode  R.,  No.  548;  Klass.  d.  K.,  p.  49. 

Collection  of  John  Corbett,  London,  1904. 

Collection  of  Jhr.  Henry  Teixeira  de  Mattos,  Amstcrs 

dam. 

Lent  by  Mr.  Frank  G.  Logan,  Chicago. 


265 


REMBRANDT 

CONTINUED 

77 

NICOLAES  RUTS 

RATHER  more  than  halfdength.  A  man  about  fifty 
years  of  age,  with  a  short  beard,  stands  behind  a 
purplish?red  leather  chair,  on  the  back  of  which  he  rests 
his  right  hand,  while  he  holds  a  letter  in  his  left.  A  sleeve* 
less  violet  mantle  lined  and  trimmed  with  fur  partly 
conceals  his  black  doublet;  he  wears  a  broad  gauffered 
ruff  and  has  a  large  fur  cap  on  his  head.  A  light  brown 
background. 

Signed  with  the  monogram  R  H  L  1631. 

Panel:  H.  47%  inches;  W.  351/2  inches. 

The  title  of  this  picture  is  derived  from  the  inscription 

on  a  drawing  by  A.  Delfos  in  the  collection  of  Dr.  C. 

"W.  J.  Pape  of  The  Hague:  "Het  portratvan  Nicholaas 

Ruts,  levens  groot  door  Rembrandt  van  Rijn,  1632,  A. 

Delfos  1799,  tkans  bij  den  Heer  Joost  Romswinckel  te 

Leiden." 

Vosmaer,  pp.  490, 495;  Dutuit,  p.  45,  No.  226;  Michel, 

p.  557;  Bode  R.,  No.  51;  Klass.  d.  K.,  p.  66. 

Collection  of  Susannah  Ruts,  the  widow  of  Johannes 

Bodden,  who  was  married  in  1636  to  Pieter  van  der 

Hagen. 

(Prot.  Not.  L.  Lamberti,  Amsterdam). 

Collection  of  Joost  Romswinckel,  Ley  den,  1799. 

Collection  of  the  Queen  of  the  Netherlands. 

Collection  of  King  William  II  of  Holland,  1850. 

Collection  of  Adrian  Hope,  sold  in  London,  1894. 

Collection  of  Joseph  Ruston,  Lincoln. 

Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 

266 


COLAES  RUTS 

RTHER  more  tkan  halflength.  A  t'ty 

years  of  age,  with  a  short  be  arc  ad  a 

hair,  on  the  bac±  .  ich  he  rests 

;  his  left .  A  sleeve* 
and  t  fur  partly 

I  gauffered 
^ap  on  it  brown 


RH  L 

nscrip' 


iow  of  Johannes 
^d  in  1636  to  Pieter  van  der 

?n. 

msterdai. 

Leyden,  1799. 
ands. 
Holland,  1850. 
.xsndon,  1894. 

York. 


REMBRANDT 

78 

PC  AIT  OF  A 

BUST.  Am?  grizzled  hair  and  .  kowi 

beard;  the  £  i  turned  slightly  to  the  right 
looks  at  the  spedta;  wears  a  black  doublet 

small  ruff.  Dark-g  backi;  ^hter  c 

rignt. 

Signed  on  the  rignt :  -  Rijn,  i 

Oval  panel:  H.  28I  s;W\ 

Vosmaer,  pp.  493,  4 

p.  562;  Bode  R.,  No  iass.  d.  K. 

Exhibited  at  Palais  ps  Legisla  ZB74- 

Tolozan  Collection .  1 801 . 

Robit  Collection,  P.: 

Montaleau  Collect!  2. 

Collot  Collection,  Parts,  1855. 

Collection  of  Baron  SeiUieres,  Paris. 

Collection  of  tbe  ie  Sag; 

Lent  by  Mr.  York. 


271 


REMBRANDT 

CONTINUED 

78 

PORTRAIT  OF  A  MAN 

BUST.  A  man  with  grizzled  hair  and  a  thin  brownish 
beard;  the  figure  is  turned  slightly  to  the  right  and 
looks  at  the  spectator.  He  wears  a  black  doublet  and  a 
small  ruff.  Darksgrayish  background,  lighter  on  the 
right. 

Signed  on  the  right:  R.  van  Rijn,  1632,  aet.  40. 
Oval  panel:  H.  28%  inches;  "W.  20  V2  inches. 
Vosmaer,  pp.  493, 495;  Dutuit,  p.  52,  No.  235;  Michel, 
p.  562;  Bode  R.,  No.  81;  Klass.  d.  K.,  p.  82. 
Exhibited  at  Palais  du  Corps  Legislatif,  Paris,  1874. 
Tolozan  Collection,  Paris,  1801. 
Robit  Collection,  Paris,  1801. 
Montaleau  Collection,  Paris,  1802. 
Collot  Collection,  Paris,  1855. 
Collection  of  Baron  Seillieres,  Paris. 
Collection  of  the  Princesse  de  Sagan,  Paris. 

Lent  by  Mr.  James  W.  Ellsworth,  New  York. 


271 


vlBRANDT 


ding.Aman 

serial.  He 

od  turban 

1  .  lK  a  clasp 

inous 

*ed 


T  !' 


•  ■' 


md,  sold  in  1850. 
don,  C 
>  f  McKay  1  ewYork. 

y  Mr.  W.  K.  Vanderbilt,  New  York. 


wsBBm 


'•    ■■-!'--V 

"'■...,.■•'.  ■;•■'■ 


fflBliflMI  fliM  i>  ii  ml 

1 1 1 1 1  •  1 1  -,!"rvt '  •■  V  -  *%ri?'^ii«i  I 


SwrfWlflf&s'FiiL 


JS^\.* 


sa 

"QUSTofay 
J3  and  heard.  . 

gray  bairssbirt.  I 

background  at  tb 

Signed  on  tbe  lef 

' 

1632. 

Panel:  PL  25%  in 

1 

In  tbe  inventory  0 

. 

of  Amsterdam.,  dated  ] 

occurs:  "Imvestibul; 

brandt." 

Dutuit,  p.  47,  No.  46 ; 

Klass.  d.  K.,  p.  113. 

Tbis  is  not  tbe  S 

Smitb,  No.  137,  a 

sely,  No.  jS). 

Exbibited  at  tbe 

. 

239. 

Collection  of  I 

Collection  of  I 

Lent  by  I 


REMBRANDT 

CONTINUED 

80 

SAINT  JOHN  THE  BAPTIST 

BUST  of  a  young  man  with  thick  dark  brown  hair 
and  beard.  A  brown  mantle  is  tbrown  across  bis 
gray  hair-shirt.  His  reed  cross  appears  against  the  light 
background  at  the  right. 

Signed  on  the  left,  above  the  shoulder:  Rembrandt  ft. 

1632. 

Panel:  H.  25 V4  inches ,V^.  18%  inches. 

In  the  inventory  of  the  bankrupt  Jan  Ingels,  an  advocate 

of  Amsterdam,  dated  January  7, 1654,  the  following  entry 

occurs :  "Im  vestibul  (Voorhuis) :  Een  St.  Jan  van  Rem* 

brandt." 

Dutuit,  p.  47,  No.  46;  Michel,  p.  561 ;  Bode  R.,  No.  134; 

Klass.  d.  K.,  p.  113. 

This  is  not  the  Saint  John  the  Baptist  mentioned  by 

Smith,  No.  137,  and  mezzotinted  by  Vallerant  (Wes* 

sely,  No.  78). 

Exhibited  at  the  Royal  Academy,  London,  1876,  No. 

239. 

Collection  of  Lord  Palmerston. 

Collection  of  Lord  Mount  Temple,  Broadlands. 

Lent  by  Mr.  Charles  Stewart  Smith,  New  York. 


277 


REMBRANDT 

CONTINUED 

81 

SASKIA 

BUST,  turned  to  the  right.  She  wears  a  dark  blue 
mantle  with  narrow  gold  trimming  at  the  throat, 
showing  a  fine  plaited  chemisette  beneath.  A  gold  chain 
hangs  across  her  breast.  A  transparent  veil  with  a  col* 
ored  pattern  rests  on  her  golden*red  hair  and  falls  over 
her  shoulders  and  on  her  back.  A  pearl  on  a  long  loop  in 
her  ear. 

Panel:  H.  23%  inches ;W.  18  inches. 

Painted  about  1633. 

Smith,  Nos.  502,  576,  578;  Bode  R.,  No.  153;  Klass.  d. 

K.  p.  129. 

De  Gaignat  Collection,  Paris,  1768. 

De  Calonne  Collection,  Paris,  1788. 

De  ChoiseuL=Praslin  Collection,  Paris,  1793. 

Bouc  Cleeve  Collection. 

Wells  Collection,  Redleaf,  1890. 

BinghamsMildmay  Collection,  London,  1893. 

Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 


278 


RANDT 

81 

SASKIA 

.  She  a  dark  blue 

inuning  at  the  throat, 

_;old  chain 

4th  a  col= 

1  hair  ver 

:arlonal<  pin 

5.  d. 

.  Paris,  1788. 
m,  Pa 

on,  Redleaf,  1890. 

may  Collection,  London,  1893. 

>.  A.  B.  Widener,  Philadelphia. 


R        RANDT 

)N*T1NU1 

82 

PORTF  OF  A  YC         3  MAN 

BUST,  turned  to  the  right,  th<  facing  the  spec* 

tator.  He  -wears  a  black  ith  a  flat  plaited 

collar;  His  dark  h  partly  hidden  by  the  broad  brim 

of  a  black 

Panel:  H.  2^3/&  inches ;  W.  20 '/2  incbes. 

Painted  about  1633. 

Companion  picture  to  No.  83. 

"Waagen,  Vol.  Ill,  -  Bode  R.,  No.  90;  Klass.  d.  K., 

p.  90. 

Exhibited  at  Leeds, 

Collection  of  Sir  Simon  Clarke,  London,  1840. 

Collection  of  Lord  North  wick,  Cheltenham,  1859. 

Collection  of  Sir  R  Napier,  London,  1877. 

Lent  by  Mrs.  Morris  K.  Jes  fork. 


283 


REMBRANDT 

CONTINUED 

82 

PORTRAIT  OF  A  YOUNG  MAN 

BUST,  turned  to  the  right,  the  head  facing  the  spec* 
tator.  He  wears  a  black  doublet  -with  a  flat  plaited 
collar ;  his  dark  hair  is  partly  hidden  by  the  broad  brim 
of  a  black  slouch  hat. 

Panel:  H.  24%  inches;^/.  20V2  inches. 

Painted  about  1633. 

Companion  picture  to  No.  83. 

V/aagen,  Vol.  Ill,  p.  207;  Bode  R.,  No.  go;  Klass.  d.  K., 

p.  90. 

Exhibited  at  Leeds,  1868. 

Collection  of  Sir  Simon  Clarke,  London,  1840. 

Collection  of  Lord  North  wick,  Cheltenham,  1859. 

Collection  of  Sir  Robert  Napier,  London,  1877. 

Lent  by  Mrs.  Morris  K.  Jesup,  New  York. 


283 


REMBRANDT 

CONTINUED 

83 

PORTRAIT  OF  A  YOUNG  WOMAN 

BUST,  turned  slightly  to  the  left  and  looking  at  the 
spectator.  She  wears  a  dark  dress  with  a  large  ruff, 
a  string  of  pearls  around  her  throat  and  a  pearl  in  each 
ear.  Her  dark  hair  is  combed  back  from  her  forehead  and 
arranged  under  a  small  cap  with  a  lace  border  at  the  back 
of  her  head. 

Canvas:  H.  23I/8  inches; "W.  20%  inches. 

Painted  about  1633. 

Companion  picture  to  No.  82. 

Waagen,  Vol.  Ill,  p.  207;  Bode  R.,  No.  91 ;  Klass.  d.  K., 

p.  91. 

Exhibited  at  Leeds,  1868. 

Collection  of  Sir  Simon  Clarke,  London,  1840. 

Collection  of  Lord  North  wick,  Cheltenham,  1859. 

Collection  of  Sir  Robert  Napier,  London,  1877. 

Lent  by  Mrs.  Morris  K.  Jesup,  New  York. 


284 


83 

DUNG  WOMAN 

Eing  at  the 
large  ruff, 
rl  in  each 
mher  id  and 

order  a  ck 

.  Bode ] 

1868. 
iimon  Clark-  1840. 

Co  Lord  North  1  ham,  1859. 

Co  (  Sir  Robert  Napier,  London,  1877. 

-Irs.  Morris  K.  ]esup.  New  York. 


REMBRANDT 

CONTINUED 

84 

PORTRAIT  OF  A  MAN 

BUST.  A  middle  turned  slightly  to  the  right, 

facing  the  specie  lis  light  brown  hair  is  gray  at 

the  temples  and  he T.  a  Henry  IV  heard.  Black  cos* 
tume  with  a  white  r 

Oval  canvas :  H  lies ;  W.  21  inciu 

Ahout  1632. 

Lent  by  the  .  ical  Society,  New  York. 


289 


REMBRANDT 

CONTINUED 

84 

PORTRAIT  OF  A  MAN 

BUST.  A  middle-aged  man,  turned  slightly  to  the  right, 
facing  the  spectator.  His  light  brown  hair  is  gray  at 
the  temples  and  he  wears  a  Henry  IV  heard.  Black  cos? 
tume  with  a  white  ruff. 

Oval  canvas:  H.  26 14  inches;  "W.  21  inches. 
About  1632. 

Lent  by  the  Historical  Society,  New  York. 


289 


REMBRANDT 

CONTINUED 

85 

THE  MARQUIS  D'ANDELOT 

THREE-QUARTERS  LENGTH.  Standing.  A  young 
beardless  man  with  long  dark  hair  stands  in  the  act 
o£  buckling  his  belt.  He  wears  a  breastplate  and  greaves, 
and  his  helmet  lies  on  a  table  to  the  left.  His  sleeveless 
corselet  displays  his  embroidered  coatesleeves  and  white 
cuffs.  On  the  wall  to  the  right,  a  piece  o(  paper  on  which 
the  word  plagaet  is  legible. 

Canvas:  H.  40V2  inches;  W.  33%  inches. 

Painted  in  1634. 

Smith,  No.  284;  Dutuit,  p.  53,  No.  145;  Michel,  p.  561; 

Bode  R.,  No.  205;  Klass.  d.  K.,  p.  202. 

The  subject  is  identified  by  Jan  Veth  in  "Kunstchronik,"' 

June,  1909,  from  a  poem  on  the  portrait  in  "Le  Cabinet 

de  M.  de  Scudery,  Paris,  1646." 

Exhibited  in  the  Bristol  Gallery,  London,  1818;  Exposi* 

tion  des  Cent  Chefssd'aeuvres,  Paris,  1883. 

Gueffier  Collection,  Paris,  1791. 

Robit  Collection,  Paris,  1801. 

Collection  of  George  Hibbert,  London,  1829. 

Blake  Collection,  London,  1846. 

Collection  of  Prince  Demidoff,  San  Donato,  1880. 

Collection  of  E.  Secretan,  Paris,  1889. 

Sutton  Collection,  New  York,  1892. 

Lent  by  Mr.  Richard  Mortimer,  New  York. 


290 


UIS  L 

"ERSLENGTI  ung 

nth  long  dark  1 

Sreastplat  reaves, 

e  left.  His  sleeveless 

i  white 

t  paper  on  which 


31. 

:orge  Hibt 
1,  London, 

midofF,  San  Donato,  1880. 
?etan.  889. 

ork. 


REMBRANDT 

CONTINUED 

86 

THE  FINDING  OF  MOSES 

A  LANDSCAPE  representing  a  secluded  pool  of  the 
Nile,  shut  in  by  lofty  trees,  and  approached  on  the 
left  by  two  or  three  steps  with  a  low  balustrade ;  on 
the  lower  step  a  basket  in  which  is  the  infant  Moses. 
The  daughter  of  Pharaoh  has  emerged  from  her  bath  and 
a  negress  attendant  wraps  a  white  drapery  about  the 
nude  form  of  her  mistress.  At  the  extreme  right  a  bather 
in  the  water.  Four  companions  kneel  about  the  infant 
Moses.  The  garments  of  the  bathers,  in  green,  blue  and 
brown  tones,  are  spread  out  on  the  balustrade,  under  a 
large  Oriental  umbrella.  Large  water-plants  in  the  fore* 
ground  on  the  left.  The  golden  evening  light  from  the 
left  falls  on  the  group  of  figures. 

Canvas,  oval:  H.  17I/2  inches; "W.  23  Va  inches. 

Painted  about  1635 ;  the  signature  on  the  wall  to  the  left 

(now  illegible)  and  the  date  1656  are  additions  by  a  later 

hand. 

A  study  (pen^drawing)  for  the  central  figures  is  in  the 

possession  of  Dr.  Hofstede  de  Groot,  The  Hague. 

Smith,  No.  24;  Dutuit,  p.  47,  No.  17;  Michel,  p.  312, 

No.  555;  Bode  R.,  No.  195;  Klass.  d.  K.,  p.  167. 

Crozat  Collection,  Paris,  1751. 

Collection  of  the  Due  de  Choiseul,  Paris,  1772. 

Collection  of  Prince  de  Conti,  Paris,  1779. 

Boileau  Collection,  Paris,  1787. 

Collection  of  Robert  de  Saint* Victor,  Paris,  1822. 

Collection  of  Sir  Robert  Peel,  Drayton  Manor,  England. 

Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 

295 


REMBRANDT 

continued 
87 

SLAUGHTERED  OX 

IN  a  cellar  a  slaughtered  and  disemboweled  ox  hangs 
by  cords  from  a  horizontal  pole.  On  the  floor  a  flat  dish 
and  other  utensils.  In  the  background  to  the  left,  a  win* 
dow.  The  light  comes  into  the  picture  from  above  on  the 
left. 

Signed  below  on  the  right:  R.  1637. 
Panel:  H.  18%  inches;  "W.  15  inches. 
Bode  R.,  No.  575;  Klass.  d.  K.,  p.  230. 
Duchteren  Collection,  Holland. 
Van  der  Kellen  Collection,  Utrecht. 

Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 


296 


' 


7- 
les. 

I 
Mr.}:  :lphia. 


THE 

HALF, 
right.  H. 
that  hangs  from 
has  short  haii 

wears  a  broad4  vd  black  1 

plaited  collar  iah  his  black 

Signed  bel  Remb~ 

Car  vV.  21  %  inch. 

The  companion  p  the  wife  c 

Martens,  is  in  the  H  .>ge,  St.  Pi 

Exposition  des  O  efs^d'cBuvre,  Par 

Smith,  Nos.3^  aer,pp. 

No.  288;  Michel,  1  >i ;  Moes,  Icon.  Ba.,  Nc 

Bode  R.,  No.  27  IK.,  p.  254. 

Anonymous  Co  n  at  Geneva. 

Collection  of  An  Cousin,  London,  iy( 

Van  Helsleut  ■■ ,  Paris,  18 

Collection  of  ike  of  Ancaster 

Colledtion  of  deChavagn 

Collection  Due  de  Morny. 

Colledtion  Duchesse  de : 

T  Haveme) 


301 


REMBRANDT 

CONTINUED 

88  7 

THE  GILDER,  HERMAN  DOOMER 

HALF-LENGTH.  Seated,  turned  balfway  to  tbe 
rigbt.  His  rigbt  band,  in  sbadow,  bolds  tbe  cloak 
tbat  bangs  from  bis  left  sboulder  across  bis  breast.  He 
lias  sliort  bair,  a  moustacbe  and  a  pointed  beard,  and 
wears  a  broadsbrimmed  black  bat.  An  unstarcbed 
plaited  collar  falls  over  bis  black  cloak. 

Signed  below  on  tbe  rigbt:  Rembrandt  f.  1640. 
Canvas:  H.  29  Vs  incbes:  "W.  21%  incbes. 
Tbe  companion  portrait,  tbe  wife  of  tbe  Gilder,  Baartjen 
Martens,  is  in  tbe  Hermitage,  St.  Petersburg. 
Exposition  des  Cent  Cbefssd'osuvre,  Paris,  1883. 
Smitb,  Nos.  334, 335;  Vosmaer,  pp.205, 523;  Dutuit,  p.  52, 
No. 288;  Micbel,pp.27o,$6i;  Moes,  Icon. Ba.,  No. 2074; 
Bode  R.,  No.  275;  Klass.  d.  K.,  p.  254. 
Anonymous  Collection  at  Geneva. 
Collection  of  Antbony  Cousin,  London,  1769. 
Van  Helsleuter  Collection,  Paris,  1802. 
Collection  of  tbe  Duke  of  Ancaster  (?) 
Collection  of  Gentilde  Cbavagnac,  Paris. 
Collection  of  the  Due  de  Morny,  Paris,  1865. 
Collection  of  the  Ducbesse  de  Sesto,  Madrid,  1882. 

Lent  by  Mrs.  H.  O.  Havemeyer,  New  York. 


301 


REMBRANDT 

CONTINUED 

89 

PORTRAIT  OF  AN  OLD  WOMAN 

HALF? LENGTH.  An  old  woman  seated  in  an  arms 
chair  and  looking  to  the  left,  her  figure  turned 
slightly  in  the  same  direction.  Her  elbows  rest  on  the 
arms  of  the  chair,  her  hands  are  clasped.  A  close  white 
cap  with  projecting  shelkshaped  side  pieces  appears 
under  her  black  head-dress.  She  wears  a  wide  soft  gauf* 
fered  ruff  and  narrow  cuffs,  a  black  jacket,  trimmed  -with 
fur  in  front  and  on  the  shoulders,  over  a  dark  dress. 

Signed  on  the  right :  Rembrandt  f.  1640. 

Canvas:  H.  zjVq  inches ;  W.  235/s  inches. 

Dutuit,  p.  20;  Michel,  pp.  268,  561;  Bode  R.,  No.  278; 

Klass.  d.  K.,  p.  256. 

Collection  of  Gerrit  Muller,  Amsterdam,  1827. 

Collection  of  the  Comte  de  Robiano,  Brussels,  1837. 

Collection  of  D.  Nieuwenhuys,  Brussels. 

Collection  of  Prince  Demidoff,  Paris,  1868. 

Narischkine  Collection,  Paris,  1883. 

Collection  of  the  Baron  de  Beurnonville,  Paris,  1884, 

1885. 

Collection  of  Rodolphe  Kann,  Paris. 

Lent  by  Mrs.  H.  O.  Havemeyer,  New  York. 


302 


H 


F  AN  OLD  WOMAN 

\n  old  woman  seated  in  an  arms 

ante  turned 

.  est  on  the 

lose  white 


ippears 

Olfs 

. 

a  darl- 

176; 


:     ■    r' 

■   . 

e  Baron  de  Be  S84, 

■dolphe  Kann,  Pa. 

ew  York. 


REMBRANDT 

CONTINUED 

90 

PORTRAIT  OF  HIMSELF 

BUST,  tuj  o  the  righ  g  the  spedta^ 

tor.  He  has  attache  and  a  srnall  chin-tuft; 

his  short  hair  is  cov«  /  a  soft  Hack  cap.  He  wears  a 

black  velvet  coat  trimir.ed  with  fur  and  a  white  neck? 
band.  A  double  gold  chain  bangs  about  his  shoulders. 

Panel:  H.  28  inch  ;%  inches. 

Painted  about  1645. 

Vosmaer,  p.  544 ;  D  p.  54,  No.  158 ;  Michel,  p.  567 ; 

Bode  R.,  No.  260;  I  1.  K.,  p.  316. 

Collection  of  the  of  Leuchtenberg,  St.  Petersbv. 

Lent  by  Mr  ."it  S.  Terrell,  New  York. 


307 


REMBRANDT 

CONTINUED 

90 

PORTRAIT  OF  HIMSELF 

BUST,  turned  slightly  to  the  right,  facing  the  spedta* 
tor.  He  has  a  light  moustache  and  a  small  chin=tuft; 
his  short  hair  is  covered  by  a  soft  black  cap.  He  wears  a 
black  velvet  coat  trimmed  with  fur  and  a  white  neck* 
band.  A  double  gold  chain  hangs  about  his  shoulders. 

Panel:  H.  28  inches; "W.  22%  inches. 

Painted  about  1645. 

Vosmaer,  p.  544;  Dutuit,  p.  54,  No.  158;  Michel,  p.  567; 

Bode  R.,  No.  260;  Klass.  d.  K.,  p.  316. 

Collection  of  the  Duke  of  Leuchtenberg,  St.  Petersburg. 

Lent  by  Mr.  Herbert  S.  Terrell,  New  York. 


307 


REMBRANDT 

CONTINUED 

91 

PORTRAIT  OF  A  GIRL 
Hendrickje  StofFels(?) 

HALF-LENGTH.  She  stands,  facing  the  spectator, 
with  both  hands  resting  on  the  top  of  a  half  door, 
her  crisp,  fair  hair  combed  back  from  her  forehead  under 
a  small  white  cap.  She  wears  a  dark  brown  jacket,  laced 
over  a  bodice  of  lighter  brown,  and  a  dark  green  apron. 
A  double  row  of  coral  beads  around  the  throat. 

Signed  below  in  the  centre:  Rembrandt  f.  1645. 

Canvas:  H.  30^8  inches; "W.  33  inches. 

Smith,  No. 532;  Dutuit,  p. 21,  No. 310(7);  Michel, pp. 308, 

561, ;  Bode  R.,  No.  301 ;  Klass.  d.  K.,  p.  323. 

Exhibited  at  the  British  Gallery,  London,  1818. 

Guefner  Collection,  Paris,  1791. 

Robit  Collection,  Paris,  1801. 

Collection  of  George  Hibbert,  London,  1829. 

Collection  of  Prince  Demidoff,  Donato,  1880. 

Gift  of  Martin  A.  Ryerson  to  the  Art  Institute,  Chicago. 

Lent  by  the  Art  Institute,  Chicago. 


308 


OF  A  Gl 


vcing  tKe  spectator, 

half  door, 

nhcTi  d  under 

brown  jacket,  laced 

i  dark  green  apron. 

e  throat. 

08, 

1791. 

libbert,  London,  1829. 
emido'  .  1880. 

rson  to  the  Art  Institute,  Chicago. 

Art  Institute,  Chicago. 


PORTRAIT 

HALF-LENGTH,' 
with  a  brown  coy 

some  loose  sheets  oi  par 
which  he  grasps  a  penc 
He  wears  a  broad-brimmed 
golden-^greer. 

Signed,  abc  at,  b< 

has  been  added :  Rem  i 

illegible). 

Canvas:  H.  35I/8  W. 

The  various  hyp 

sometimes  err     e<  ';all«? 

sound  basis. 

Exhibited  at  Amsterdar 

Smith,  No.  338; 

314;  Michel,  pp.  3 82,  55- 

p.  345;  Catalogue  of  the 

Aved  Collection,  Pa 

Collection  of  the  Ear 

Lent  by  Mr. 


REMBRANDT 

CONTINUED 

92 

PORTRAIT  OF  A  YOUNG  MAN 

HALF*LENGTH.  Turned  to  the  right,  seated  at  a  table 
with  a  brown  cover.  'With  his  left  hand  he  holds 
some  loose  sheets  of  paper  before  him ;  his  right  hand,  in 
which  he  grasps  a  pencil,  rests  on  the  edge  of  the  table. 
He  wears  a  broadsbrimmed  hat  and  a  black  coat  over  a 
goldensgreen  doublet. 

Signed,  above  on  the  right,  below  the  strip  of  canvas  that 

has  been  added :  Rembrandt  f.  1647  (tne  ^a^  figure  almost 

illegible). 

Canvas:  H.  35I/8  inches ; "W.  44%  inches. 

The  various  hypotheses  as  to  the  identity  of  the  sitter, 

sometimes  erroneously  called  Lombard  Bramer,  have  no 

sound  basis. 

Exhibited  at  Amsterdam,  1898. 

Smith,  No.  338;  Waagen,  II,  p.  280;  Dutuit,  p.  43,  No. 

314;  Michel, pp.382,  555;  BodeR.,  No. 365;  Klass. d. K., 

p.  345;  Catalogue  of  the  Frick  Collection,  No.  30. 

Aved  Collection,  Paris,  1766. 

Collection  of  the  Earl  of  Carlisle,  Castle  Howard. 

Lent  by  Mr.  Henry  C.  Frick,  New  York. 


313 


T 


REMBRANDT 

CONTINUED 

93 

A  YOUNG  PAINTER 
Jan  van  de  Capelle  (?) 

HREE^UARTERS  LENGTH.  The  body  turned 
to  the  right,  the  face  looking  out  into  the  distance. 
His  left  hand  holds  an  ink*bottle  and  portfolio  with  draw* 
ingspaper,  his  right  a  pencil  with  which  he  sketches.  He 
wears  a  dark  cap  and  a  brown,  fur?trimmed  mantle  over 
a  doublet  showing  one  gold*embroidered  sleeve.  On  the 
right  a  curtain. 

Canvas:  H.  43%  inches; "W.  33V2  inches. 

Painted  about  1648. 

There  is  documentary  evidence  that  Rembrandt  painted 

the  portrait  of  Jan  van  de  Capelle,  who  was  born  1624s 

25,  and  it  is  probable  that  this  painting  represents  the 

famous  sea  painter,  as  the  date  coincides  with  his  age  at 

that  time. 

Smith  Suppl.,  No.  27;  Bode  R.,  No.  364;  Klass.  d.  K., 

p.  346. 

Exhibited  at  the  Royal  Academy,  London,  1899. 

Collection  of  Lord  Carrington,  Wycombe  Abbey. 

Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 


314 


PAINT; 

i.  The  body  turned 

at  into  the  distance. 

nd  portfolio  with  draw* 

ich  he  sketches.  He 

funtrimmed  mantle  over 

abroidered  sleeve.  On  the 

ting  represents  the 
incides  with  his  age  at 

R.,  No.  364;  Klass.  d.  I 

London ,  1899. 
Wycombe  Abbey. 

it  Morgan,  New  York. 


REMBRANDT 

CONTINUED 

94 

PORTRAIT  OF  HIMS 

HALF-LENGTH.  Rembrandt,  aged  about  fortysfour. 
lhalfto  the  right.  Hisrigk  estsonhis 

ovedhandon  a  stick.  He  wears  a  small  mc 
chin«tuft,  and  on  his  pale  brown  hair  a  red 
net  tinder  a  reddish*brown  biretta  witk  a  narrow  gold 
border.  A  pearl  in  kis  ear.  He  is  dressed  in  a  dark  doublet 
-witk  slashed  olive^gret  cut  square  at  tke  tkroat 

and  skowing  a  yellow  heck-clotk  and  tke  gold*embroid= 
ered  collar  of  a  fine  shirt. 

Signed  on  the  right  die  hand:  Remb>              1650. 

Canvas:  H.  34%  ^8 inches. 

Exhibited  at  the  E  Academy,  London,  1899. 

Dutuit,  p.  48,  Nc  Michel,  p.  558;  Waagen,  II,  p.  281 ; 

Bode  R.,  No.  y  I  J.K.,p.  319. 

Collection  of  Sir  wdeRothsc              >ndon. 

Lent  by  Mr .  P .  A.  B .  Widen  Iphia. 


319 


REMBRANDT 

CONTINUED 

94 

PORTRAIT  OF  HIMSELF 

HALF-LENGTH.  Rembrandt,  aged  about  fortysfour. 
Turned  naif  to  tbe  rigbt.  His  rigbt  band  rests  on  bis 
side,  bis  gloved  band  on  a  stick.  He  wears  a  small  mous* 
tache  and  cbin?tuft,  and  on  bis  pale  brown  bair  a  red 
net  under  a  reddisb*brown  biretta  witb  a  narrow  gold 
border.  A  pearl  in  bis  ear.  He  is  dressed  in  a  dark  doublet 
witb  slasbed  olive*green  sleeves,  cut  square  at  tbe  tbroat 
and  sbowing  a  yellow  neck^clotb  and  tbe  gokUembroids 
ered  collar  of  a  fine  sbirt. 

Signed  on  tbe  rigbt  above  tbe  band:  Rembrandt  f.  1650. 

Canvas :  H.  34%  incbes ;  "W.  28  incbes. 

Exbibited  at  tbe  Royal  Academy,  London,  1899. 

Dutuit,  p.  48,  No.  163 ;  Micbel,  p.  558 ;  Waagen,  II,  p.  281 ; 

Bode  R.,  No.  346;  Klass.  d.  K.,  p.  319. 

Collection  of  Sir  Antbony  de  Rotbscbild,  London. 

Lent  by  Mr.  P.  A.  B.  Widener,  Pbiladelpbia. 


319 


REMBRANDT 

CONTINUED 

95 

STUDY  OF  AN  OLD  MAN 

BUST,  almost  full  face,  the  head  bent  slightly  forward 
to  the  left.  He  has  a  grizzled  beard  and  hair  and  wears 
a  red  cap.  His  dark  gown  is  fastened  with  a  jeweled  gold 
clasp  over  a  light  garment. 

Signed  above  on  the  right:  Rembrandt  f.  1650. 
Canvas:  H.  26%  inches; "W.  22  inches. 
Bode  R.,  No.  376;  Klass.  d.  K.,  p.  366. 

Lent  by  Mr.  George  J.  Gould,  New  York. 


320 


B 


REMBRANDT 

CONTlNtnBD 

95 


ha  iew 


50. 
York. 


THE 

"QJ             icing  tbe  s 

JD  to  tbe  left.  S 

large  black  cap.  He 

fine 

Dark  coat  witb  red  ar  . 

background. 

Panel:  H.  24%  incnes ; 
Painted  about  1650. 
BodeR.,  No.  582;  KL 
Collection  of  Mauris 

Lent  by  Mr.  P.  A 


REMBRANDT 

CONTINUED 

96 

THE  PHILOSOPHER 

BUST,  facing  the  spectator,  the  head  and  eyes  turned 
to  tne  left.  Short  dark  brown  heard.  On  his  head  a 
large  black  cap.  He  wears  a  light  yellow  doublet  over  a 
finely?plaited  shirt,  on  which  hangs  a  gold  neck*chain. 
Dark  coat  with  red  and  gold  stripes.  Light  brownish=gray 
background. 

Panel:  H.  24%  inches;  W.  19^  inches. 
Painted  about  1650. 
Bode  R.,  No.  582;  Klass.  d.  K.,  p.  365. 
Collection  of  Maurice  Kann,  Paris. 

Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 


325 


REMBRANDT 

CONTINUED 

97 

THE  SAVANT 

NEARLY  three*quarters  length.  Standing,  gazing  at 
a  bust  of  Homer  on  a  table  at  his  rigkt,  bis  left  band 
resting  on  bis  side,  tbe  right  on  the  bust  of  Homer.  He 
has  a  beard  and  wears  a  broad  flat  hat  and  black  doublet 
over  a  white  linen  vestment  with  full  sleeves.  A  gold 
chain  hangs  from  his  right  shoulder  to  his  left  hip. 

Signed,  on  the  table  at  the  right:  Rembrandt  f.  1653. 
Canvas:  H.  543/s  inches ;  W.  523/e  inches. 
The  old  description  of  this  picture  as  a  portrait  of  Pieter 
Cornelisz.  Hooft,  who  died  in  1647,  must  De  rejected,  as 
it  does  not  bear  the  slightest  resemblance  to  his  features. 
Dr.  Six  suggests  that  the  picture  is  a  portrait  of  Torquato 
Tasso  (Oud  Holland,  1897,  p.  4  et  seq.). 
It  is  more  probably  an  ideal  portrait  of  Virgil,  an  author 
with  whom  the  artist  was  familiar.  The  bust  of  Homer 
is  mentioned  in  an  inventory  of  Rembrandt's  collection. 
Smith,  No.  302;  Vosmaer,  p.  551 ;  Dutuit,  p.  43,  No.  314; 
Michel,  p.  555;  Bode  R.,  No.  385;  Klass.  d.  K.,  p.  426. 
Collection  of  Sir  Abraham  Hume,  London. 
Collection  of  Earl  Brownlow,  Ashbridge  Park. 
Collection  of  Rodolphe  Kann,  Paris. 

Lent  by  Mrs.  Collis  P.  Huntington,  New  York. 


326 


ingat 
::  tana 

,Kisk 

iato 


of 


mer 


■  c 


■  trait  o 

42b. 

e%  London. 
\snWge  Park. 


,„  New  York. 


REMBRANDT 

THE  STANDARD  BEARER 

THREE-QUARTERS  LENGTH.  Standing,  fac 
the  spectator.  I.  ght  hand  he  holds  a  glc 

his  gloved  left  hand  a  banner  hearing  the  arms  of  the  City 
of  Amsterdam.  His  gray  hair  is  partly  covered  by  a  black 
hat  with  a  white  feather   he  wears  a  dark  brown  coat 
:h  gold  buttons  and  his  right  shoulder  a  richly 

embroidered  sword  Vt  the  right  a  rusticated  pillar. 

Signed  below  on  the  left:  Rembrandt  fe.  1654. 

Canvas:  H.  54K  V.  44%  inch. 

Smith,  No.  279 ;  Dutuit,  p.  49,  No.  4  jhel,  pp.  500, 

559;  Bode  R.,  N:  Klass.  d.  K.,  p.  4 

Exhibited  at  er,  1857;  Royal  Academy,  Lon? 

don,  1871. 

Collection  of  iiua  Reynolds,  London 

Collection  of  the  Earl  of  Warwick,  Warwick  CastL 

Lent  by  Mr.  George  J .  Gc  rw  York. 


331 


REMBRANDT 

CONTINUED 

98 

THE  STANDARD  BEARER 

THREE-QUARTERS  LENGTH.  Standing,  facing 
the  spectator.  In  his  right  hand  he  holds  a  glove,  in 
his  gloved  left  hand  a  banner  bearing  the  arms  of  the  City 
of  Amsterdam.  His  gray  hair  is  partly  covered  by  a  black 
hat  with  a  white  feather ;  he  wears  a  dark  brown  coat 
with  gold  buttons  and  over  his  right  shoulder  a  richly 
embroidered  sword*belt.  At  the  right  a  rusticated  pillar. 

Signed  below  on  the  left:  Rembrandt  be.  1654. 

Canvas:  H.  54 Va  inches;  W.  44%  inches. 

Smith,  No.  279 ;  Dutuit,  p.  49,  No.  436 ;  Michel,  pp.  500, 

559;  Bode  R.,  No.  370;  Klass.  d.  K.,  p.  428. 

Exhibited  at  Manchester,  1857;  Royal  Academy,  Lon* 

don,  1871. 

Collection  of  Sir  Joshua  Reynolds,  London,  1795. 

Collection  of  the  Earl  of  Warwick,  Warwick  Castle. 

Lent  by  Mr.  George  J.  Gould,  New  York. 


331 


REMBRANDT 

CONTINUED 

99 

PORTRAIT  OF  A  MAN 

THREE-QUARTERS  LENGTH.  Standing,  facing 
the  spectator,  with  head  turned  slightly  to  the  left. 
He  has  long  brown  hair  and  a  fair  moustache.  Over  his 
duIUred  doublet,  the  square  opening  of  which  shows  a 
plaited  shirt  embroidered  with  gold,  hangs  a  heavy  fur* 
trimmed  cloak.  Around  his  neck  a  fine  gold  chain  and  a 
whistle  suspended  from  a  ribbon.  On  his  head  a  broad 
black  cap.  His  right  hand  at  his  belt. 

Signed  below  on  the  left:  Rembrandt  f.  1655. 

Canvas:  H.  54%  inches; "W.  34  !4  inches. 

Dutuit,  p.  50,  No.  332;  Michel,  pp.  451,  561;  Bode  R., 

No.  448;  Klass.  d.  K.,  p.  438. 

Collection  of  Marquis  de  Beausset. 

Collection  of  A.  Allard,  Brussels. 

Collection  of  Prosper  Crabbe,  Paris,  1890. 

Lent  by  Mr.  James  Ross,  Montreal. 


332 


T 


99 

r  OF  A  MAN 

jTH.  Standing,  facing 

•i  sligKtly  to  the  left. 

iou^la  vevhis 

ig  of  whic  s  a 

embrc  ngs  a  1 

goldcKaij 

:>ad 


W.  34 '4  inck 
Michel,  pp.  451, 

-Jlard,  Br; 

sper  Crabbe,  Paris,  1890. 

Ross,  Montreal. 


REfc 

PORT  OB/ 

HALF*LENGT  ated,i 

■rmvedtii).  earx 
ragged  white  beard 

on  his  curly  gray  hair  He  is 

cloak,  the  underlie  a  ligh 
right  wrist. 

Panel:  H.  32V2  inch 
Painted  about  1655. 
Michel,  p.  564;  Bode  R    No. 
Collection  of  L.  Le,^. 
Collection  of  M.C 

Lent  by  Mr.  W.  A.  S 


REMBRANDT 

CONTINUED 

100 

PORTRAIT  OF  AN  OLD  MAN 

HALF-LENGTH.  Seated,  turned  to  the  right,  his 
right  arm  resting  on  the  arm  of  the  chair.  He  has  a 
ragged  white  heard,  and  wears  a  broad  black  velvet  cap 
on  his  curly  gray  hair.  He  is  wrapped  in  a  full  brown 
cloak,  the  under*sleeve  of  a  lighter  tint  showing  at  the 
right  wrist. 

Panel:  H.  32V2  inches; "W.  25V2  inches. 

Painted  about  1655. 

Michel,  p.  564;  Bode  R.,  No.  470;  Klass.  d.  K.,  p.  431. 

Collection  of  L.  Lesser,  London. 

Collection  of  M.  C.  Waltner,  Paris. 

Lent  by  Mr.  W.  A.  Slater,  Washington. 


337 


REMBRANDT 

CONTINUED 

101 

THE  SIBYL 

MORE  than  half4ength.  A  young  woman,  seated, 
turned  three-quarters  to  the  right,  her  head  bent 
forward,  her  eyes  turned  to  the  left,  holding  a  large  book 
on  her  lap  with  both  hands.  She  wears  a  dark  gown  re* 
lieved  by  greenish  reflections,  a  gold^colored  mantle,  and 
a  light  turban  ornamented  -with  precious  stones  and  a 
siring  of  pearls. 

Canvas:  H.  3814  inches;  W.  29V2  inches. 
Painted  about  1656. 
Bode  R.,  No.  528;  Klass.  d.  K.,  p.  386. 
Barnett  Collection,  London,  1881. 

Lent  by  Mr.  Theodore  M.  Davis,  Newport. 


338 


V4BRANDT 


1  bent 


*L 


d.  K.,  p    j8 

i. 

M.  Davis,  Newport. 


3f 

».  .¥  .    ... 

■     "V 

V    -      *'■'■  raMB 

■.  ^>mB^'-!Si'^f^i:c^*' 

K 

fri^tr      *j&-'' 

\^ 

v#; .. 

fftjjjp 

« ■ 
■ 

■  ^ 

■**' 

%^~~jf^  rj 

. 

A 

■                  ■ 

■-     . 

-. 

- 

T 


[REE.Q 


spectator  RiHy-: 

red  sash,  a  Ath.  a 

goldsemh  rsstra 

cap  ;  skull= 
short  moi 

his  lei:  rand. 

Signed,  on  the  k  ■ 

Canvas:  H.  5 

Smith.,  No.  225 ; 

Moes,  Icon  B 

alogue  of  Mr  s  ColL. 

Exhibited  in  British 

Gallery,  1824;  J- 

Collection  of 

land. 

Lent  L  Henr> 


REMBRANDT 

CONTINUED 

102 

PORTRAIT  OF  HIMSELF 

THREE-QUARTERS  LENGTH.  Seated,  facing  the 
spectator.  He  wears  a  full  yellow  gaberdine  with  a 
red  sash,  a  Brown  cloak  with  a  white  neckcloth  and 
gold* embroidered  shoulder* straps.  On  his  head  a  dark 
cap,  under  which  a  brown  skull-cap  is  visible.  He  has  a 
short  moustache,  and  holds  a  stick  with  a  silver  knob  in 
his  left  hand.  Dark  background. 

Signed,  on  the  knob  of  the  chair:  Rembrandt  f.  1658. 
Canvas :  H.  51  inches ;  "W.  40  inches. 
Smith,  No.  225 ;  Michel,  pp.  434, 558 ;  Bode  R.,  No.  428 ; 
Moes,  Icon  Ba.,  No.  6693.58;  Klass.  d.  K.,  p.  400;  Cat* 
alogue  of  Mr.  H.  C.  Frick's  Collection,  No.  29. 
Exhibited  in  London,  British  Institution,  181 5;  British 
Gallery,  1824;  Burlington  House,  1889,  1899. 
Collection  of  the  Earl  of  Ilchester,  Melbury  Park,  Eng* 
land. 

Lent  by  Mr.  Henry  C.  Frick,  New  York. 


343 


REMBRANDT 

CONTINUED 

103 

HENDRICKJE  STOFFELS 

HALF-LENGTH  FIGURE.  Turned  to  the  left  and 
bending  forward.  V/ith  her  right  hand  she  holds 
together  a  loose  dark  brown  morning  wrap  trimmed  with 
reddish  fur.  Her  hair  is  covered  with  a  gold*embroidered 
greenish=brown  cap  ornamented  with  a  gold  chain  and 
precious  stones.  Reddisb-jbrown  background. 

Signed  on  the  right,  above  the  shoulder :  Rembrandt  f. 

1660. 

Canvas:  H.  29%  inches;  W.  26%  inches. 

Bode  R.,  No.  438;  Klass.  d.  K.,  p.  411. 

Collection  of  the  Marquise  de  la  Cenia,  Spain. 

Collection  of  Rodolphe  Kann,  Paris. 

Lent  by  Mrs.  Collis  P.  Huntington,  New  York. 


344 


T 

CONTl 

103 

:FELS 

Hleft  and 
ight  hand  she  holds 
^  with 
vith  a  gold*ci 
ith  a  g 

r  f. 


by  Mrs.  Coll;  :on,  New  York. 


344 


REMBRANDT 

CONTINUED 

104 

THE  ACCOUNTANT 

HALF?Ll  H .  Standing  figure,  bent  slightly  for* 

ward  anc:  ->.g  against  a  table ;  the  left  band  on 

an  open  book  before  him;  the  right,  holding  a  pen,  re 
on  the  table.  He  wears  a  bright  red  cap  and  a  redd 
brown  gown  with  white  at  the  neck  and  sleeves. 

Canvas:  H.  40V2  inches;  W.  31 V2  inches. 

Painted  about  1663. 

Smith,  No.  275,  Suppl.,  No.  9;  Michel,  pp.  247,  561; 

Bode  R.,  No.  526;  Klass.  d.  K.,  p.  502. 

Exhibited  at  the  Royal  Academy,  Lonci  9 . 

Collection  of  Sir  Joshua  Reynolds,  London,  1795. 

Collection  of  Thomas  Hardman,  Manchester,  1838. 

Collection  of  Mrs.  Owen  Roe,  London. 

Collection  of  as  Green,  London,  1874. 

Collection  of  Mrs.  P.  C.  Handford,  Chicago. 

Lent  by  Mr.  Charles  M.  Schwab,  New  York. 


14Q 


REMBRANDT 

CONTINUED 

104 

THE  ACCOUNTANT 

HALE=LENGTH.  Standing  figure,  bent  slightly  for* 
ward  and  leaning  against  a  table;  the  left  band  on 
an  open  book  before  Kim;  the  right,  holding  a  pen,  rests 
on  the  table.  He  wears  a  bright  red  cap  and  a  reddish* 
brown  gown  with  white  at  the  neck  and  sleeves. 

Canvas:  H.  401/2  inches; "W.  311/2  inches. 

Painted  about  1663. 

Smith,  No.  275,  Suppl.,  No.  9;  Michel,  pp.  247,  561; 

Bode  R.,  No.  526;  Klass.  d.  K.,  p.  502. 

Exhibited  at  the  Royal  Academy,  London,  1889. 

Collection  of  Sir  Joshua  Reynolds,  London,  1795. 

Collection  of  Thomas  Hardman,  Manchester,  1838. 

Collection  of  Mrs.  Owen  Roe,  London. 

Collection  of  Thomas  Green,  London,  1874. 

Collection  of  Mrs.  P.  C.  Handford,  Chicago. 

Lent  by  Mr.  Charles  M.  Schwab,  New  York. 


349 


REMBRANDT 

CONTINUED 

104 

THE  ACCOUNTANT 

HALF-LENGTH.  Standing  figure,  bent  slightly  for* 
ward  and  leaning  against  a  table ;  tbe  left  band  on 
an  open  book  before  him;  the  right,  holding  a  pen,  rests 
on  the  table.  He  wears  a  bright  red  cap  and  a  reddish* 
brown  gown  with  white  at  the  neck  and  sleeves. 

Canvas:  H.  401/2  inches;  W.  31V2  inches. 

Painted  about  1663. 

Smith,  No.  275,  Suppl.,  No.  9;  Michel,  pp.  247,  561; 

Bode  R.,  No.  526;  Klass.  d.  K.,  p.  502. 

Exhibited  at  the  Royal  Academy,  London,  1889. 

Collection  of  Sir  Joshua  Reynolds,  London,  1795. 

Collection  of  Thomas  Hardman,  Manchester,  1838. 

Collection  of  Mrs.  Owen  Roe,  London. 

Collection  of  Thomas  Green,  London,  1874. 

Collection  of  Mrs.  P.  C.  Handford,  Chicago. 

Lent  by  Mr.  Charles  M.  Schwab,  New  York. 


349 


REMBRANDT 

CONTINUED 

104  A 

PORTRAIT  OF  A  YOUNG  MAN 
Called  "Thomas  Jacobsz.  Hating" 

HALF-LENGTH.  Standing,  turned  to  the  right.  He 
has  a  thin,  pale  face,  dark  eyes  and  a  small  mous= 
tache,  and  wears  a  broad  cap  with  a  skulkcap  under  it 
over  his  long,  dark  hair.  He  is  dressed  in  a  brown  doublet 
with  white  at  the  neck  and  sleeves,  and  holds  in  his  hands 
some  folio  sheets.  On  the  right,  in  a  deep  shadow,  is  the 
bust  of  a  man. 

Signed  on  the  back  of  the  folios:  Rembrandt  f.  1658. 

Canvas:  H.  425/s  inches ;  W.  33I/2  inches. 

The  identity  of  this  portrait  as  the  auctioneer  Thomas 

Jacobsz  Haring  is  probably  an  error ;  as  has  already  been 

pointed  out  by  Bode,  the  etching  of  1055  shows  a  much 

older  man,  and  the  identification  of  the  etching  with  Har* 

ing  is  merely  traditional.  The  painting  is  more  likely  a 

portrait  of  Rembrandt's  son  Titus,  as  the  features  resem? 

ble  those  of  his  portraits  of  this  period. 

Vosmaer,  pp.  356,  559;  Dutuit,  p.  53,  No.  215;  Bode  R., 

No.  458;  Klass,  d.  K.,  p.  417. 

Exhibited  at  the  Royal  Academy,  The  Hague,  1892. 

Collection  of  the  Marchese  dlvrea,  Genoa. 

Von  Lissingen  Collection,  Vienna,  sold  in  Paris,  1876. 

Collection  of  John  Waterloo  Wilson,  Paris,  1881. 

Wilbrenninck  Collection,  The  Hague. 

Collection  of  Maurice  Kann,  Paris. 

Lent  by  Mr.  B.  Altman,  New  York. 
35° 


NG  MAN 

obsz  Haring" 

g,  turned  to  the  right.  He 

■nail  m 

kulkcap  under  it 

a  a  brown  doublet 

■  ds  in  his  hands 

hado  w,  is  the 


T              LENC 
X  I.  has  a  th 

1658. 


BodeR., 

\cademy.  The  Hague,  181 
a,  Genoa, 
ma,  sold  in  Paris,  1876. 
ohnVv  o  Wilson,  Paris,  1881. 

ie. 

rk. 


REMBRANDT 

CONTINUED 
105 

LUCRETIA  STABBING  HERSELF 

MORE  than  Kali  -length .  The  figure,  with  h  i 
lined  tc  eft,  faces  the  spectator.  W 

\e  points  a  dagger  at  her  breast,  wh 
ft  hand  is  ied  toward  the  spectatc 

ch  greenis,  olor ed  dress  with  wide 

and  a  laced  bodic  her  throat  a  necklace  of 

and  a  string  with  a  pendant;  a  pearl  in  her  t 

Sig3  her  left:  Rembrandt  b.  1664. 

Canvas:  H.  47V2  inches; "W.  39%  inches. 
Smith,  No.  192;  Dutuit,  p.  58,  No.  114;  Michel,  pt 
563 ;  Bode  R.,  N.  cvlass.  d.  K.,  p.  46 

Lapeyriere  ColJ  Paris,  1825. 

Anonymous  ion,  London,  1826. 

:.!ection  of  M.  Zachary,  London,  1828. 
Collection  of  J.  H  Munro,  Novar. 
Collection  of  Prince  Demidoff,  San  Donate. 
Anonymous  ion,  Lone 

Lent  by  Mr.  M.  C.  D.  Borde  v  York. 


355 


REMBRANDT 

CONTINUED 

105 

LUCRETIA  STABBING  HERSELF 

MORE  than  half  length.  The  figure,  with  head  slightly 
inclined  to  the  left,  faces  the  spectator.  "With  her 
right  hand  she  points  a  dagger  at  her  breast,  while  the 
uplifted  left  hand  is  extended  toward  the  spectator.  She 
wears  a  rich  greenish*gold  colored  dress  with  wide  sleeves 
and  a  laced  bodice ;  around  her  throat  a  necklace  of  pearls 
and  a  string  with  a  pendant;  a  pearl  in  her  ear. 

Signed  on  her  left:  Rembrandt  b.  1664. 

Canvas:  H.  47V2  inches; "W.  39%  inches. 

Smith,  No.  192;  Dutuit,  p.  58,  No.  114;  Michel,  pp.  489, 

563 ;  Bode  R.,  No.  595;  Klass.  d.  K.,  p.  467. 

Lapeyriere  Collection,  Paris,  1825. 

Anonymous  Collection,  London,  1826. 

Collection  of  M.  Zachary,  London,  1828. 

Collection  of  J.  H.  Munro,  Novar. 

Collection  of  Prince  Demidoff,  San  Donato,  1880. 

Anonymous  Collection,  London,  1889. 

Lent  by  Mr.  M.  C.  D.  Borden,  New  York. 


355 


REMBRANDT 

CONTINUED 

106 

PORTRAIT  OF  A  MAN 

BUST.  A  man  with  long  dark  hair  and  a  dark  beard; 
he  wears  a  lowscrowned,  broad=brimmed  hat,  that 
throws  a  shadow  over  the  upper  part  of  his  face. 

Signed  on  the  left:  Rembrandt  f.  1665. 

Canvas:  H.  28  inches;  W.  25  inches. 

Michel,  p.  561;  Bode  R.,  No.  496;  Klass.  d.  K.,  p.  506. 

Collection  of  Sir  William  "W.  Knighton,  London. 

Collection  of  H.  G.  Marquand,  New  York. 

Property  of  The  Metropolitan  Museum  of  Art, 
New  York. 


35<> 


NTDT 


M/ 

air  and  a  dark  beard; 
id-brimmed  hat,  tnat 
art  of  kis  (a 


•  o  of  Art, 


REMBRANDT 

CONTINUED 
107 

PORTRAIT  OF  A  MAN 

BST,  facing  the  spectator.  The  left  Hand  in  the  black 
vhich  envelops  the  figure.  He  wears  a  flat  white 
and  his  long  dark  hair  is  partially  covered  by  a 
broad*brimmed  black  bat  witb  a  bigb  crown. 

Canvas :  H.  2  ;  ^V.  25  inches. 

Painted  about 

Dutuit,  p.  46;  Bode  R.,  No.  495:  Klass.  d.  K.,  p.  507. 

Collection  of  irquis  of  Lansdowne,  London,  1883. 

Collection  of  H.  G.  Marquand,  New  York. 

Property  of  The  Metropolitan  Museum  of  Art, 
New  York. 


361 


REMBRANDT 

CONTINUED 

107 

PORTRAIT  OF  A  MAN 

BUST,  facing  the  spectator.  The  left  hand  in  the  black 
coat  which  envelops  the  figure.  He  wears  a  flat  white 
collar,  and  his  long  dark  hair  is  partially  covered  by  a 
broadsbrimmed  black  hat  with  a  high  crown. 

Canvas:  H.  23 14  inches; "W.  25 inches. 

Painted  about  1665. 

Dutuit,  p.  46;  Bode  R.,  No.  495;  Klass.  d.  K.,  p.  507. 

Collection  of  the  Marquis  of  Lansdowne,  London,  1883. 

Collection  of  H.  G.  Marquand,  New  York. 

Property  of  The  Metropolitan  Museum  of  Art, 
New  York. 


361 


REMBRANDT 

CONTINUED 

107A 

TITUS,  THE  SON  OF  REMBRANDT 
"The  Man  with  a  Magnifying=Glass" 

HALF-LENGTH.  Seated,  facing  the  spectator,  his 
body  turned  slightly  to  the  right.  In  his  right  hand, 
■which  seems  to  rest  on  the  table  before  him,  he  holds  a 
magnifyingsglass.  He  is  bareheaded,  and  his  thick,  curl* 
ing  brown  hair  falls  about  his  shoulders.  He  is  dressed 
in  red,  with  a  narrow  collar,  and  wears  small  steel  arm* 
lets  on  the  upper  part  of  his  slashed  sleeves.  A  dark  cloak 
falls  over  his  right  arm.  Dark  background. 

Canvas:  H.  3&/q  inches; "W.  28%  inches. 

Companion  picture  to  No.  107B. 

Painted  about  1668. 

The  model  for  this  portrait  is  the  same  as  that  of  the  man 

in  the  so-called  "Jewish  Bride"  at  Amsterdam,  which 

was  recently  identified  as  Rembrandt's  son  Titus.  The 

present  portrait  was  probably  painted  in  the  year  of  his 

marriage  to  Magdalena  van  Loo  (February,  1668).  Titus 

died  in  the  following  autumn,  and  his  wife  survived  him 

but  one  year. 

Exhibited  in  Brussels,  1882. 

Dutuit,  p.  50,  No.  347;  Michel,  p.  501,  No.  563 ;  Klass.  d. 

K.,  p.  482. 

Lent  by  Mr.  B.  Altman,  New  York. 


362 


H 


REMBR 

REMBRANDT 

ifying^Glass" 

ig  the  spectator,  his 

In  his  right  hand, 

him,  he  holds  a 

i  his  thick,  curl? 

He  is  dressed 

in  r  all  s^eel  arms 

let'  jloak 

tali?  >und. 

Ca< 

Tl. 
in  1 

i  as  Re  ltus.  The 

\bly  painted  in  the  year  of  his 

m.  "  February,  1668).  Titus 

died  in  th  g  autumn,  and  his  wife  survived  him 

Dutuit,  p .  -j-7 ;  Michel,  p.  $01,  No.  563 ;  Klass.  d.* 

Lent  by  Mr.  B.  w  York. 


36; 


-  99E|  ^ 

h                                            '~  ^HP^^bi^H 

■HHH^^L-^^H 

^^^^K^JH 

/-'1'"'^"''>''"''HHr      ■'°">»B 

t  wT 

l^ft                      r^Mfifl                       J§  Mk 

I  1  1 

^V^^Dk.          \BB                    v^*' 

' '  - 

-      ■  -     ■  ■  v 

■  .  • 

REMBRANDT 

■NTINUED 

107B 

MAGDALENA  VAN  LOO,  WIFE  OF 
REMBRANDT'S  SON  TIT' 

"The  Lady  with  a  Pink" 

HALF*LENGTH.  Seated,  turned  to  the  left,  the  head 
inclined  toward  the  spectator.  In  her  right  hand  she 
hoi  d  carnation.  Her  (air  hair  is  combed  back  from 

ito  a  small  gold  cap  and  bound  with  a  string  of 
peo  ie  wears  large  pendent  pearls  in  her  ears  and  a 

gold  chain  about  her  neck.  Her  rich  red  gown  with  full 
sleeves  is  cut  square  over  the  bust,  showing  a  dainty 
chemisette.  In  the  background  a  dark  curtained  picture 
in  a  gold  frame. 

Canvas:  H.  3b5/s  inches ;W.  30%  inches. 

Companion  picture  to  No.  107A. 

Painted  about  1668. 

Exhibited  in  Brussels,  1882. 

Dutuit,  p.  50,  No.  348 ;  Michel,  p.  501,  No.  563 ;  Bode R., 

No.  536;  Klass.  d.  K.,  p.  46 

Collection  of  Comte  E.  d'Ouitremont,  Brussels,  sold  in 

Paris,  1889. 

Collection  of  Maurice  Kann,  Par 

Lent  by  Mr.  B.  Altman,  New  York. 


367 


REMBRANDT 

CONTINUED 

107B 

MAGDALENA  VAN  LOO,  WIFE  OF 
REMBRANDT'S  SON  TITUS 

"The  Lady  with  a  Pink" 

HALF=LENGTH.  Seated,  turned  to  the  left,  the  head 
inclined  toward  the  spectator.  In  her  right  hand  she 
holds  a  red  carnation.  Her  fair  hair  is  combed  back  from 
her  face  into  a  small  gold  cap  and  bound  with  a  string  of 
pearls.  She  wears  large  pendent  pearls  in  her  ears  and  a 
gold  chain  about  her  neck.  Her  rich  red  gown  with  full 
sleeves  is  cut  square  over  the  bust,  showing  a  dainty 
chemisette.  In  the  background  a  dark  curtained  picture 
in  a  gold  frame. 

Canvas:  H.  365/s inches ; "W.  30%  inches. 

Companion  picture  to  No.  107A. 

Painted  about  1668. 

Exhibited  in  Brussels,  1882. 

Dutuit,  p.  50,  No.  348 ;  Michel,  p.  501,  No.  563 ;  Bode R., 

No.  536;  Klass.  d.  K.,  p.  483. 

Collection  of  Comte  E.  d'Oultremont,  Brussels,  sold  in 

Paris,  1889. 

Collection  of  Maurice  Kann,  Paris. 

Lent  by  Mr.  B.  Altaian,  New  York. 


367 


JACOB  VAN  RUISDAEL 

BORN  at  Haarlem,  1 628*29 .  Died  there  in  1 682.  Prob* 
ably  a  pupil  of  Cornelius  Vroom  and  of  his  uncle 
Salomon  Ruysdael.  Worked  at  Haarlem  and  at  Am* 
sterdam  (1657*1681).  Landscape  painter. 


108 


COTTAGE  UNDER  TREES 

On  the  right  a  thatched  cottage  backed  by  masses  of  oak 
trees,  in  front  of  which  is  a  field  surrounded  by  a  hedge 
of  flowering  elders  growing  on  a  rugged  bank ;  at  the  side 
an  old  cartwheel.  In  the  door  of  the  cottage  stands  a  wo* 
man,  and  just  outside  are  two  peasants.  In  the  distance, 
on  the  right,  a  second  cottage  with  trees.  Light  clouds  in 
a  blue  sky. 

Signed  at  the  right  with  the  monogram  J  v  R. 
Canvas :  H.  22 Vs  inches;  "W.  255/e  inches. 
Painted  1650*60. 

Smith,  No.  213;  Waagen,  Vol.  IV,  p.  194. 
Exhibited  at  Manchester,  1857. 
Collection  of  William  Wells,  Redleaf,  1835. 
Collection  of  George  Field,  London,  1893. 
Collection  of  Rodolphe  Kann,  Paris. 

Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 


368 


RUISDAEL 

Big  !  ok 

and  of  his  u. 
Worked  at  Haarlem  and  at  Am? 
Landscape  painter. 

-8 

TREES 

by  masses  of  oak 

:d  by  a  hedge 

^ugged  bank ;  at  the  side 

■  s  a  wo= 

ace, 

Jsin 

Vol.  r       94. 

>ter,  18 

n  Wells,  Redleaf,  1835. 
ion,  1893. 
!olpheKann,  Pa. 

J.  Pierpont  Morgan,  New  York. 


JACOB  VAN  RUISDA 

■NTINUED 

THE  SLUICE 

AGRASS.GROW  Heads  over  a 

to  a  wood  beyond.  On  the  left  a  rugg 
a  sluice  or  water*gate.  On  the  right  a  small 
meadow  with  a  shepherd  and  a  small  floe 
Clouded  sky. 

Panel  H.  16%  inchr  s  inches. 

Painted  1650-' 

Sale  E.  Secret  1889. 

Lent  by  Mrs.  johnW.  Simpson,  K 


JACOB  VAN  RUISDAEL 

CONTINUED 
109 

THE  SLUICE 

AGRASS^GROWN  road  leads  over  a  stone  bridge 
to  a  wood  Beyond.  On  the  left  a  rugged  tree  and 
a  sluice  or  water*gate.  On  the  right  a  small  stream  and 
meadow  with  a  shepherd  and  a  small  flock  of  sheep. 
Clouded  sky. 

Panel  H.  16%  inches ;  W\  22 Vs  inches. 

Painted  1650*60. 

Sale  E.  Secretan,  Paris,  1889. 

Lent  by  Mrs.  John  "W.  Simpson,  New  York. 


373 


JACOB  VAN  RUISDAEL 

CONTINUED 

no 

DUNES  NEAR  HAARLEM 

A  VIEW  of  dunes  and  flat  country  extends  to  the 
far  horizon.  The  hollo ws  of  the  foreground  and 
middle  distance  are  wooded.  The  sunlight  falls  in  patches 
on  the  scene,  lighting  up  a  field  and  a  number  of  gray  and 
redsroofed  houses  in  the  foreground.  A  village  church 
with  a  high  steeple  stands  farther  back  in  the  shade.  In 
the  rear  another  sunlit  field  and  behind  it  the  Haarlem 
Sea.  Lofty  sky  with  gray  gathering  clouds. 

Canvas:  H.  13V2  inches; "W.  16%  inches. 
Painted  about  1660. 

Lent  by  Mr.  W.  A.  Slater,  Washington. 


374 


A 


JACO!      AN  RUISDAI 


CONTINUED 
110 

NfES  NEAR 

dunes  and 
n.  Tne  hc 


6 


mi'.i  voode  .  itfal 

om  htingupa 

ses  in  tne 

the  e  h 

; 

inch*  4  inch 


W  jrcr,Vv 


JACOB  VAN  RUISDAEL 

CONTi   ; 
111 

WINTER  LANDSCAPE 

ON  the  al  turns  to  the  left  and  leads 

to  r  a  road  follows  the  canal 

ae  bri;  t.  On  the  bridge  a  woman 

wearing  a  white  md  a  red  skirt.  On  the  left  in  the 

middle  distance  vindmills            i  cottage,  and  on 

the  opposite  side  -anal  a  village .  In  the  foreground 

v-ooden  fram.  t  which  a  man  with  two 

bundles  of  ru  nmg.  Standing  near  him  is  a  man 

with  a  boat''  e  ground  is  snowscovered  and  a 

frosty  atmosphe  es  the  scene.  Dark  clouded  win? 
ter  sky. 

Signed  at  th<  .  Rutsdal 

Canvas :  H.  z. 

Smith,  No 

Sydervelt  c  1766. 

Lapeyrierec  1825. 

Collection  of  Sir  Robert  Peel,  Lond<: 

Lent  by  Mr.  John  G.  Johnson,  1  a. 


JACOB  VAN  RUISDAEL 

CONTINUED 
111 

WINTER  LANDSCAPE 

ON  the  right  a  frozen  canal  turns  to  the  left  and  leads 
to  the  distance.  From  the  left  a  road  follows  the  canal 
over  a  stone  bridge  at  the  right.  On  the  bridge  a  woman 
wearing  a  white  hood  and  a  red  skirt.  On  the  left  in  the 
middle  distance,  two  windmills  near  a  cottage,  and  on 
the  opposite  side  of  the  canal  a  village.  In  the  foreground 
a  wooden  framework  against  which  a  man  with  two 
bundles  of  rushes  is  leaning.  Standing  near  him  is  a  man 
with  a  boat-hook.  The  ground  is  snow^covered  and  a 
frosty  atmosphere  pervades  the  scene.  Dark  clouded  wins 
ter  sky. 

Signed  at  the  right:  J.  v.  Ruysdael. 
Canvas :  H.  20  inches  ;"W.  25  inches. 
Smith,  No.  210. 
Sydervelt  collection,  1766. 
Lapeyriere  collection,  1825. 
Collection  of  Sir  Robert  Peel,  London. 

Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 


379 


JACOB  VAN  RUISDAEL 

CONTINUED 

112 

STORMY  SEA 

A  PIER  with  a  beacon  light  at  the  end  extends  into 
the  sea  toward  the  left ;  near  the  end  of  the  pier  are 
two  men,  one  with  a  pole  in  his  hand;  beyond  a  sailings 
boat,  and  in  the  distance  at  the  right  and  left  other  craft ; 
near  the  horizon  a  large  sailing*vessel.  At  the  left  a  rift 
in  the  dark  clouds  throws  a  strong  light  on  the  water. 

Canvas:  H.  36  inches;  "W.  491/2  inches. 

Lent  by  Mr.  James  Ross,  Montreal. 


380 


RUISDAEL 


SEA 


A 

tne  end  extends  into 
Ke  end  of  thej 

two 
near  tin- 

yond a  saj 

■ 

i  stro 

's  as  :  H 

w. 

Jarr                       itreal. 

RUISDAEL 

112 

{  SEA 

he  end  extends  into 
jL  ""V  ir  the  end  ofthe  p 

d;  beyond  as 
ndlef  ft; 

\t  the 

s,  Mor 


JACOB  VAN  RUISDAEL 

NTINUED 

1I2A 

WHEATFIELDS 
"Un  Coup  de  Soleil" 

A  ROAD,  ir  g  sunlight,  leads  from  the  rigKt  to  a 

group  of  distant  cottages  in  a  wood,  between  fields 
of  ripened  corn.  On  the  road  a  man  walking  toward  the 
horizon  and  a  woman  and  small  boy  approachi  i 
foreground.  At  the  rigbt  are  two  trees  and  a  hedge;  at 
the  left,  along  the  horizon,  the  aea.  with  sails,  and  on  t 
shore  a  beaconsltght.  Clouded  sky. 

Signed  at  the  right:  I V  Ruisdael. 
Canvas :  H.  4  ches ;  "W".  51 V2  inches. 

Collection  of  M  Kann,  Paris. 

Lent  by  Mr.  B.  Altman,  New  Yor? 


385 


JACOB  VAN  RUISDAEL 

CONTINUED 

112A 

WHEATFIELDS 
"Un  Coup  de  Soleil" 

A  ROAD,  in  strong  sunlight,  leads  from  the  right  to  a 
group  of  distant  cottages  in  a  wood,  between  fields 
of  ripened  corn.  On  the  road  a  man  walking  toward  the 
horizon  and  a  woman  and  small  boy  approaching  the 
foreground.  At  the  right  are  two  trees  and  a  hedge;  at 
the  left,  along  the  horizon,  the  sea  with  sails,  and  on  the 
shore  a  beacon*light.  Clouded  sky. 

Signed  at  the  right :  I V  Ruisdael. 
Canvas:  H.  40!^  inches;  "W.  51 1/2  inches. 
Collection  of  Maurice  Kann,  Paris. 

Lent  by  Mr.  B.  Altman,  New  York. 


385 


JACOB  VAN  RUISDAEL 

CONTINUED 

113 

WOODS 

A  PATH  winds  from  right  to  left  over  a  wooden 
bridge  into  the  depths  of  the  wood,  toward  which 
a  man  and  boy  are  advancing.  The  "wood  slopes  from  the 
left  of  the  canvas  toward  the  right,  bounded  in  the  fore* 
ground  by  a  small  sheet  of  water  into  which  a  -white 
birchstree  has  fallen.  Dark  and  cloudy  sky. 
In  the  right  foreground  the  monogram  J.  v.  R. 

Painted  about  1650*60. 

Canvas :  H.  25%  inches ;  W.  28  inches. 

Von  Preyer  Collection,  Vienna. 

Lent  by  Senator  W.  A.  Clark,  New  York. 


386 


rAN  RUISDAEL 

!NUED 

113 

WOODS 

over  a  wooden 
oward  which 
he  wood  slopes  from  the 
bounded  in  the  t 
nto  which  a  white 
rk  and  cloudy  sky. 
id  the  monogram  J.  v.  R. 

nches. 
Vienr 

Senator  W.  A.  Clark,  New  York: 


JACOB  VAN  Rl 


114 


THE  FOREST  STREAM 

A  FOREST  stream,  with  waterfall  in  the  fc 
rrounded  by  rocky  banks ;  on  the  r 
slope  with  rugged  oak  tree.  In  the  middle 
ground  two  figures  driving  sheep. 

Signed  at  the  right :  J  v 

Canvas :  H .  38 V2  inches ;  W.  ches. 

Property  of  The  Metre  :  useur/ 

New  York. 


391 


JACOB  VAN  RUISDAEL 

CONTINUED 

114 

THE  FOREST  STREAM 

A  FOREST  stream,  with  waterfall  in  the  foreground, 
surrounded  by  rocky  banks ;  on  the  right,  a  wooded 
slope  with  rugged  oak  tree.  In  the  middle  of  the  back* 
ground  two  figures  driving  sheep. 

Signed  at  the  right:  J  v  Ruisdael. 
Canvas:  H.  38V2  inches;  W.  50I/2  inches. 

Property  of  The  Metropolitan  Museum  of  Art, 
New  York. 


39] 


VAN  RUISDAEL 

115 

sRLED  OAK 

and.  On  the 

hoak.  Open 

ntre  of  th  as,  in  a 

oak  tree.  On  the  left,  a 

>d  path.  A  chain  of* 

ads  are  gathering. 

S. 

:r  of  Enfield. 

V.  de  Forest,  New  York. 


392 


A1 

■ 

ofti 

ground.  To  tke  r 

ofdistanthilJ: 

Signed  on  the 
Canvas:  H.  3 
Gallery 
Sale  Pereire. 
Sale  Prince  D 

Ler 


JACOB  VAN  RUISDAEL 

CONTINUED 

116 

THE  CASCADE 

A  LITTLE  lake  extends  from  the  left  of  the  canvas 
toward  the  right,  where  it  forms  a  cascade  spanned 
by  a  wooden  bridge.  A  man  wearing  a  red  jacket,  carry* 
ing  a  sack  on  his  back  and  followed  by  a  dog,  is  -walking 
over  the  bridge.  Three  men  are  fishing  from  the  left  shore 
of  the  lake ;  on  its  further  shore  three  houses  stand  on  hilly 
ground.  To  the  right  an  oak  ■wood,  and  beyond  a  chain 
of  distant  hills.  Dark  gray  clouds  in  a  pale  blue  sky. 

Signed  on  the  lower  left :  Ruisdael. 
Canvas :  H.  30  inches ;  "W.  37V2  inches. 
Gallery  of  the  Duke  of  Mecklenburg,  1854. 
Sale  Pereire,  Paris,  1872. 
Sale  Prince  Demidoff,  San  Donato,  1880. 

Lent  by  Mr.  M.  C.  D.  Borden,  New  York 


397 


JACOB  VAN  RUISDAEL 

CONTINUED 

117 

A  WATERFALL 

ABOVE  a  rocky  wooded  kill  at  the  right  is  seen 
the  spire  of  a  church.  A  rushing  mountain  stream 
emerges  from  the  right  and  turns  to  the  left  in  the  fore? 
ground,  where  it  forms  a  cascade.  A  shepherd  leads  his 
flock  across  a  rustic  bridge  -which  spans  the  stream.  At 
the  left  some  fallen  tree=trunks.  Blue  hills  along  the  dis* 
tant  horizon.  Dark  clouds  gather  in  the  blue  sky. 

Signed  on  a  rock  in  the  centre :  J  v  Ruisdael. 
Canvas:  H.  39%  inches;  W.  34  inches. 
Smith,  No.  222. 

Collection  of  Baron  Lockhorst,  1826. 
Collection  of  the  Earl  of  Onslow,  England. 

Lent  by  Mr.  Henry  C.  Frick,  New  York. 


398 


JACOB  VAN  RUISDAEL 


117 

A 

A 

s  seen 

am 

-  the  h                  ^re* 

tepherd  leads  his 

tie  dis? 

[ 

Coll 

Cci 

.vy  C.  Frick,  New  *Y 


JACOB  VAN  R 

CONTlNTU> 
118 

tfTAIN  TORRElv 

Cant  'with  a  small  fl 

;ng  a  rust i  bridge  over  a 

tain  torrent.  On  th  ;ite  bank  a  £ 

witb  a  peasant's  co  before  wnicK 

sons,  at  the  back  ntain  peak  witb 

and  at  the  extrers  one!  cottage.  1 1 
at  the  left,  av 

Canvas :  H.  20}  s ;  W.  16%  in 

Painted  1660570. 

Lent  by  Mrs.  Collis  P.  Hunt. 


JACOB  VAN  RUISDAEL 

CONTINUED 

118 

THE  MOUNTAIN  TORRENT 

ON  the  right,  a  peasant  'with  a  small  flock  of  sheep 
crossing  a  rustic  footbridge  over  a  rushing  moun* 
tain  torrent.  On  the  opposite  bank  a  field  in  sunshine 
with  a  peasant's  cottage,  before  which  stand  two  per* 
sons,  at  the  back  a  mountain  peak  with  wooded  slopes, 
and  at  the  extreme  left  a  second  cottage.  In  the  foreground 
at  the  left,  a  -waterfall. 

Canvas:  H. 203/s  inches;  W.  16%  inches. 
Painted  1660*70. 

Lent  by  Mrs.  Collis  P.  Huntington,  New  York. 


403 


SALOMON  VAN  RUYSDAEL 

BORN  at  Haarlem  about  1600.  Died  there  in  1670. 
Educated  under  the  influence  of  Esaias  van  de  Velde 
and  Jan  van  Goyen.  ^Vorked  at  Haarlem.  Landscape 
painter. 

119 

CANAL  SCENE 

From  the  foreground  a  canal  with  several  sailboats  leads 
toward  the  right  horizon.  A  road  on  a  high  bank  on  the 
left  follows  the  water.  Behind  the  road  a  group  of  trees 
and  in  the  centre  a  cottage  and  a  distant  church  spire. 
On  the  road  a  vehicle,  a  horseman  in  red,  and  other  figs 
ures.  In  the  shadowed  foreground  a  man  mounts  a  ladder 
placed  against  the  bank,  near  which  is  a  boat  with  a  man 
in  it,  and  beyond  this  a  second  boat  carrying  six  persons. 

Signed  on  the  boat:  S  v  Ruysdael  1640. 
Canvas:  H.  42^  inches; "W.  52%  inches. 

Lent  by  Mrs.  Morris  K.  Jesup,  New  York. 


404 


SALOMON  VAN  RUYSDAEL 

BORJS  arlem  about  1600.  Died  there  in  1670. 

Educated  under  the  influence  of  Esaias  van  de  Velde 
\  Jan  van  Goyen.  Worked  at  Haarlem.  Landscape 
- 

11 

CANAL  SCENE 

From  the  foreground  a  canal  with  several  sail-boats  leads 
toward  tke  right  he  A  road  on  a  high  bank  on  the 

left  folio ws  the  water.  Behind  the  road  a  grovi 
and  in  the  c>  ad  a  di  spire. 

On  the  re  hide,  a  horseman  in  red,  and  other  fig* 

ures .  In  the  shadowed  foreground  a  a  I  adder 

pL  t  the  bank,  near  which 

in  it,  and  beyond  this  a  second  boat  c 

Signed  on  the'  S  v  Ru  1640. 

Canvas :  H  niches ;  "W.  52%  inches. 

Lei  :rris  K.  Jesup,  New  York. 


404 


SALOMON  VAN  RUYSDAEL 

rsmmTED 

120 

A  COUNTRY  ROAD 

ON  the  left  a  group  of  trees  surrounding  a  farmshouse ; 
before  this  a  road,  leading  over  a  bridge,  divide 
tht  -ound  to  the  right  and  left.  Approaching  the 

foreground  on  the  right  ore  two  herdsmen  with  cat  l 
on  the  left,  going  in  the  opposite  direction,  two  ho; 
men,  and  on  the  bridge  two  vehicles.  At  the  extreme 
right  is  a  small  canal  and  beyond  it  a  meadow  with  cows 
and  a  distant  church.  Clouded  sky. 

Signed  on  the  lower  left:  S  v  Ruysdael  1648. 
Canvas :  H .  37%  inches ;  W.  51  Yi  inches. 

Property  of  The  Metropolitan  Museum  of  Art, 
New  York. 


400, 


SALOMON  VAN  RUYSDAEL 

CONTINUED 

120 

A  COUNTRY  ROAD 

ON  the  left  a  group  of  trees  surrounding  a  farmshouse; 
before  this  a  road,  leading  over  a  bridge,  divides  in 
tbe  foreground  to  tbe  right  and  left.  Approaching  the 
foreground  on  the  right  are  two  herdsmen  with  cattle; 
on  the  left,  going  in  the  opposite  direction,  two  horse* 
men,  and  on  the  bridge  two  vehicles.  At  the  extreme 
right  is  a  small  canal  and  beyond  it  a  meadow  with  cows 
and  a  distant  church.  Clouded  sky. 

Signed  on  the  lower  left:  S  v  Ruysdael  1648. 
Canvas:  H.  37%  inches;  W\  51V2  inches. 

Property  of  The  Metropolitan  Museum  of  Art, 
New  York. 


409 


SALOMON  VAN  RUYSDAEL 

CONTINUED 

121 

WINTER  SCENE 

A  ROAD  leading  to  the  distance  along  the  edge  of  a 
frozen  canal,  with  sleighs  in  the  foreground.  On 
the  right  is  seen  a  group  of  village  houses  with  peasants 
in  holiday  attire  and  some  couples  on  horseback.  Cold 
blue  winter  sky  with  stratus  clouds. 

Signed  in  the  centre  of  the  canvas:  S  v  R  165 — . 
Canvas :  H.  29  inches ;  W.  41  ]A  inches. 

Property  of  The  Metropolitan  Museum  of  Art, 
New  York. 


410 


X 


SALOMON  VAN  RUYSDAEL 

CONTTnxt: 

122 

WINTER  NEAR  HAARLEM 

A  FROZEN  canal  fills  the  foreground.  In  the  d 
\ce  rises  the  city  ot  Haarlem  and  the  spire  of  its 
cathedral.  On  the  left  i  •  turrets;  on  r 

ice  in  the  foreground  is  a  two^horse  sleigh  before  a  red 
tent.  At  the  right,  two  horsemen  approach  by  a  road  on 
the  other  side  of  which  is  a  second  canal.  In  the  middle 
foreground  a  group  of  children  h  he  ice  and 

beyond  t!  mother  cl  id  a  dog. 

Signed  on  the  left :  S  van  Rutsdael  165 
Canvas:  H.  30%  inches ;W. 44 '/a  incht 

Le^  Ir.  P.  A.  B.  Widener,  Philadelphia. 


SALOMON  VAN  RUYSDAEL 

CONTINUED 

122 

WINTER  NEAR  HAARLEM 

A  FROZEN  canal  fills  the  foreground.  In  the  dis* 
tance  rises  the  city  of  Haarlem  and  tne  spire  of  its 
cathedral.  On  the  left  the  city  gate  with  turrets;  on  the 
ice  in  the  foreground  is  a  twoshorse  sleigh  before  a  red 
tent.  At  the  right,  two  horsemen  approach  by  a  road  on 
the  other  side  of  which  is  a  second  canal.  In  the  middle 
foreground  a  group  of  children  have  fallen  on  the  ice  and 
beyond  them  is  another  child  with  a  sled  and  a  dog. 
Signed  on  the  left:  S  van  Ruysdael  1656. 
Canvas:  H.  30%  inches ; "W. 44!^  inches. 

Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 


4*5 


JAN  STEEN 

BORN  at  Ley  den  about  1626.  Died  there  in  1679. 
Studied  at  the  University.  Pupil  of  Nicolaes  Knup* 
fer.  Worked  at  Leyden,  The  Hague  and  at  Haarlem. 
Painter  of  genre,  religious  and  mythological  subjects 
and  portraits. 

123 

KERMESSE 

Near  the  entrance  to  an  old  tavern,  above  the  door  of 
which  hangs  the  sign  of  the  elephant,  a  young  fiddler, 
standing  upon  a  tub,  plays  for  some  dancers.  In  the  fore* 
ground  a  family  group,  a  man,  woman  and  child,  with 
a  basket  of  food  and  a  dog.  The  tavern  stands  near  a 
stream.  A  boatload  of  people  push  off  from  the  shore; 
a  man  on  the  bank  raises  his  cap  with  his  right  hand  and 
holds  out  a  tankard  in  his  left  as  a  parting  salute.  In  the 
background,  at  the  right  of  the  tavern,  are  a  group  of 
trees  and  a  bridge  over  the  stream. 

Signed  on  the  side  of  the  boat:  J.  Steen. 

Hofstede  de  Groot,  Nos.  641,  641a,  642. 

Sale  at  The  Hague,  1770. 

Sale  G.  Copius,  The  Hague,  1786. 

Sale  A.  Meynts,  Amsterdam,  1823. 

Sale  J.  A.  van  Dam,  Dordrecht,  1829. 

Collection  of  H.  G.  Marquand,  New  York. 

Property  of  The  Metropolitan  Museum  of  Art, 
New  York. 


416 


Died  there  in  1679. 
/.  Pupil  of  Nicolaes  Kmips 
The  Hague  and  at  Haarlem. 
as  and  mythological  subj<. 

123 

MESSE 

above  tke  door  of 

a  young  fiddler, 

In  the  fore* 

hold,  with 

near  a 

ihe  right  o  of 

md  a  bridge  over 

■  i  on  the  e  boat:  J.  Stei 

641,  641a,  642. 

Co  :,  1786. 

im,  1823. 
.,  Dordrecht,  1829. 
.tiori  4arquand.  New  York. 

Museum  of  Art, 


JAN  STEEN 

CONTINUED 
124 

GRACE  BEFORE  MEAT 

A  I LY  seated  under  an  arbor  before  a  bou 

vbicb  serves  as  a  table,  stands  a  large 
ba.^  tbe  rigbt,  tbe  fatber,  bolding  bis  bat  be* 

fore  b:  posite  bim  sits  tbe  motber  witb  a  cbild 

on  ber  laj  eft  a  boy  witb  bat  in  band  and  bead 

devoutly  raised  oB  ers  grace;  in  tbe  foreground  a  dog  licks 
an  overturned  p< 

Signed  on  a  .stone  at  tbe  left  of  tbe  foreground:  J.  Steen. 

Canvas:  I  incbes;W\  3oincbes. 

Copies  Lr.  !  tza  Collection,  Hamburg,  in  tbe  gallery 

at  Lui:  a  and  in  tbe  sale  at  Amsterdam,  Dec.  9, 

1902. 

Hofstc  Dot,  No.  377. 

Exbibi  £be  Royal  Academy,  London,  1885. 

Collec  W.  A.  Hankey,  Beaulieu  in  Hastings. 

Lt  Mr.  Jobn  G.  Jobnson,  Pbiladelpbia. 


JAN  STEEN 

CONTINUED 

124 

GRACE  BEFORE  MEAT 

A  FAMILY  seated  under  an  arbor  before  a  bouse; 
on  a  barrel,  wbicb  serves  as  a  table,  stands  a  large 
basin  of  food;  at  tbe  rigbt,  tbe  fatber,  bolding  bis  bat  be* 
fore  bis  face;  opposite  bim  sits  tbe  motber  witb  a  cbild 
on  ber  lap ;  at  ber  left  a  boy  witb  bat  in  band  and  bead 
devoutly  raised  offers  grace ;  in  tbe  foreground  a  dog  licks 
an  overturned  pot. 

Signed  on  a  stone  at  tbe  left  of  tbe  foreground:  J.  Steen. 

Canvas:  H.23V2  incbes; "W.  3oincbes. 

Copies  in  tbe  Giltza  Collection,  Hamburg,  in  tbe  gallery 

at  Liitzscbena  and  in  tbe  sale  at  Amsterdam,  Dec.  9, 

1902. 

Hofstede  de  Groot,  No.  377. 

Exbibited  at  tbe  Royal  Academy,  London,  1885. 

Collection  of  W.  A.  Hankey,  Beaulieu  in  Hastings. 

Lent  by  Mr.  Jobn  G.  Jobnson,  Pbiladelpbia. 


421 


JAN  STEEN 

CONTINUED 

125 

THE  DRAINED  CASK 

A  GROUP  of  figures  in  a  tavern.  In  the  centre  the 
stooping  figure  of  a  woman  in  a  red  dress  with  a 
bluejacket,  who  holds  a  bowl,  while  on  the  right  a  man 
in  a  gr aysblue  cloak  tilts  a  cask  to  drain  its  contents ;  at  the 
end  of  the  cask  an  old  woman  strikes  it  -with  her  shoe. 
Seated  at  the  table  at  the  left  is  a  man  with  a  red  hat, 
holding  a  stein  in  his  hand,  and  behind  him  two  men  in 
green  clothes  eagerly  watching  the  wine  as  it  flows  slowly 
from  the  cask.  At  the  left  a  third  man  lights  his  pipe  at 
the  table.  In  the  background  an  open  door  through  which 
is  visible  the  evening  sky.  On  a  wooden  partition  at  the 
left  of  the  background  is  the  inscription:  "Tis  drouigh 
voor  de  maets  Aef  is  doot  den  tap  lopt  op  s(e)n  ent  de 
verbruyde  krouf  is  vaets." 

Signed  on  the  cask:  J.  Steen. 

Canvas:  H.  34  inches;  W.  40  inches. 

Smith  Suppl.,  No.  70;  Westrheene,  No.  95;  Hofstede 

de  Groot,  No.  603. 

Collection  of  M.  P.  Caauw,  Leyden,  1768. 

Collection  of  E.  Higginson,  Salmarsh  Castle,  Kent,  1842. 

Collection  of  the  Marquis  de  La  Rochebousseau,  Paris, 

1873. 

Collection  of  M.  E.  Martinet,  Paris,  1896. 

Lent  by  Mr.  Charles  M.  Schwab,  New  York. 


422 


JAN  STE 

CI 

125 

THE  DRAINED  CASK 

A  GROUP  ot  figures  in  a  tavern.  In  the  centre  the 
)ing  figure  of  a  woman  in  a  red  dress  with  a 
bli  i  vho  holds  a  bowl,  while  on  the  right  a  man 

^ysblue  cloak  to  drain  its  contents;  at  the 

end  of  the  cask  an  old  rikes  it  with  her  shoe. 

1  at  the  table  at  the  1  man  with  a  red  hat, 

s  hand,  and  I  uiim  two  men  in 

.ing  the  wi  flows  slowly 

liird  man  is  pipe  at 

open  door  tl^  ch 

denpo 
lef r 

!oot  den  tap  ;nt  de 

e  krouf  isvaets." 

:d  on  the  cask :  J.  Steen. 

H.  34  inches;  W\  40  inches. 
Suppl.,  No.  70;  Westrheene,  No.  95;  Hofstede 
01  No.  60 

of  M  lauw,  Leyden,  1768. 

i  0  0  oi  -.on,  Salmarsh  Cattle,  Kent,  1842. 

1   . '  o  ;uis  de  La  Rochebousseau,  Paris, 

^ofN'  irtinet,  Paris,  1896. 

t  by  Mr.  (  .M.S.  ,  New  York. 


422 


JAN  STEEN 

CC  ED 

126 

THE  DANCING  LE 

U)ER  aii  arbor  in  front  oi 
man  are  (lancing;  seated,  a 
old  couple ,  a  young  man  and  w 
spectator  «".  an  in  a  yellov 

hild  dressed  in  yello 
seated  c  •  t  in  the  forep 

■waistcoat  with  purple  sleeves 
a  woman  in  bl  -ide  them  a  be 

above  t!  cwo  musicia: 

lin.  In  t  ound,  two  child: 

bird-cages  a  fence,  and  beyond  hi 

and  a  woman  and  the  booths  of  a  village  1 a 
spire  is  seen  between  the  trees. 

Signed  in  the  lower  left  come 

Canvas:  H.  finches;  W.  59  in 

Described  by  Sir  Joshua  Re 

p.  1 18 ;  Smith  No.  150 ;  \ 

de  Groot,  Nc 

Exhibited  at  the  Royal  Ac<; 

Kensington,  London,  i8< 

Collection  of  I.  Bisschop,  Rotten 

the  Hopes,  1771. 

Collection  of  Philip  Henry  He 

Collection  of  Lore 

dene.  S  1898. 

Lent  by  Mr.  P.  A.  B.  V 


JAN  STEEN 

CONTINUED 

126 

THE  DANCING  COUPLE 

UNDER  an  arbor  in  front  of  a  tavern  a  man  and  wo* 
man  are  dancing;  seated  at  a  table  at  the  left  are  an 
old  couple,  a  young  man  and  woman,  and  nearest  to  the 
spectator  a  woman  in  a  yellow  jacket  and  blue  apron, 
holding  a  child  dressed  in  yellow  who  plays  with  a  toy; 
seated  on  the  right  in  the  foreground,  a  man  in  a  brown 
waistcoat  with  purple  sleeves  and  scarlet  stockings,  and 
a  woman  in  blue ;  beside  them  a  boy  with  soap  bubbles ; 
above  this  group  two  musicians  -with  a  flute  and  a  vio* 
lin.  In  the  background,  two  children  and  a  man  "with  a 
bird*cage  stand  by  a  fence,  and  beyond  him  are  two  men 
and  a  woman  and  the  booths  of  a  village  fair.  A  church 
spire  is  seen  between  the  trees. 

Signed  in  the  lower  left  corner:  J.  Steen  1663. 

Canvas:  H.  42 inches ;"W.  59  inches. 

Described  by  Sir  Joshua  Reynolds;  Nagler;  WaagenJI, 

p.  118;  Smith,  No.  150;  Westrheene,  1898*99;  Hofstede 

de  Groot,  No.  655. 

Exhibited  at  the  Royal  Academy,  London,  1881 ;  South 

Kensington,  London,  1891. 

Collection  of  I.  Bisschop,  Rotterdam,  1752;  purchased  by 

the  Hopes,  1771. 

Collection  of  Philip  Henry  Hope,  London,  1833. 

Collection  of  Lord  Francis  Pelham  Clinton  Hope,  Deep* 

dene.  Sold  in  1898. 

Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 

427 


JAN  STEEN 

CONTINUED 

127 


THE  MERRYMAKERS 

A  GROUP  of  diners  seated  about  a  table  beneatb  a 
vine*covered  trellis.  In  the  centre  of  the  foreground, 
facing  the  spectator,  a  woman  in  a  brown  dress  with  a 
blue  jacket  holds  an  empty  glass  in  her  outstretched  right 
hand.  At  her  right,  seated  on  a  stone  balustrade,  a  man 
is  playing  a  cithern;  on  the  left  a  jovial  old  man,  with  a 
jug  in  his  hand,  smiles  upon  the  spectator ;  behind  him 
a  clown  embraces  a  maid  who  is  serving  the  company ; 
at  her  left  a  man  playing  a  flute,  and  a  smiling  old  man 
who  raises  a  wine*glass  towards  a  child  held  in  the  arms 
of  an  old  woman;  beyond  them  at  the  right,  other  rol; 
licking  guests.  In  the  left  of  the  foreground  a  small  boy 
has  harnessed  a  dog  to  his  toy  horse,  and  on  the  right  is 
an  overturned  wine*jug. 

Signed  on  the  right:  J.  Steen. 

Canvas :  H.  57  inches :  "W.  53  inches. 

Described  by  Immerzeel;  Smith,  No.  109;  V/estrheene, 

No.  296;  Hofstede  de  Groot,  No.  443. 

Exhibited  at  the  Royal  Academy,  London,  1888. 

SaleG.  Schimmelpenninck,  Amsterdam,  1819. 

Sale  David  Seller  of  London,  Paris,  1889. 

Lent  by  Mr.  P.  A.  B.  Widener,  Philadelphia. 


428 


JAN  STEEN 

CC  D 


THE  MERRYMAKERS 

A  GROUP  of  diners  seated  about  a  table  be- 
vi:  trellis,  .entre  of  the  foreground, 

ing  th,  woman  in  a  brown  dress  with  a 

pty  glass  in  her  outstretched  right 

\d.  At  he  I  on  a  .  llu&rade,  a  man 

playing  ~(t  a  jovial  old  man,  with  a 

jug  in  hi-  he  spe  behind  him 

lown  e  servii  i  pany ; 

of  an  old  I  them  at  the  right,  other  i 

He  n  the  left  o(  the  fore  11  boy 

ha  J  a  dog  to  his  toy  horse,  ar. 

overturnedv  g. 

aed  on  the  right:  J.  Ste; 

V.  53  inches. 

ith.  No.  109;  Westrheene, 
ot,  No.  443. 
■  he  Royal  Academy,  London,  1888. 
ck,  Amsterdam,  181 9. 
ndon,  Paris,  1889. 


ner,  Philadelphia. 


GERARD  TEt 

BORN  at  Zv 
pil  of  his  fath 
Hals,  Rembrandt  and  Velasquez.  T 
Italy,  Spain,  England  and  Fran 
De venter.  Genre  and  portrait  pa 

128 


THE  GUARD.ROOM 

A  group  of  three  cavaliers  seated  about  a  ca 
es  as  a  table;  one,  seated  at  the  right,  we 
costume  with  a  steel  cuirass  and  a  r  i 

large  wine  his  plumed  hat  r< 

left,  a  second,  wear 

sits  with  his  back  tc 

from  which  h 

third ;  he  we? 

talks  with  a  girl  v 

on  tbe  floor. 

Signed  on  the  cask  with  the  monc 
Canvas :  H.  38%  in 
Exhibited  at  the  Ro} 
Collect  Onley  Sa 

Lent  by  Mr.  John  G 


GERARD  TERBORCH 

BORN  atZwolle,  1617.  DiedatDeventerin  1681.  Pus 
pil  of  his  father  and  P.  Molyn;  influenced  by  Frans 
Hals,  Rembrandt  and  Velasquez.  Traveled  in  Germany, 
Italy,  Spain,  England  and  France.  "Worked  mostly  at 
Deventer.  Genre  and  portrait  painter. 

128 

THE  GUARD*ROOM 

A  group  of  three  cavaliers  seated  about  a  cask  which 
serves  as  a  table;  one,  seated  at  the  right,  wearing  a  yel* 
low  costume  with  a  steel  cuirass  and  a  red  sash,  drains  a 
large  wine-glass;  his  plumed  hat  rests  on  his  knee.  On  the 
left,  a  second,  wearing  a  blue,  silver*embroidered  coat, 
sits  with  his  back  to  the  spectator,  blowing  a  trumpet 
from  which  hangs  a  banner.  Behind  the  cask  stands  a 
third;  he  wears  a  fur  cap,  has  a  pipe  in  his  left  hand  and 
talks  with  a  girl  who  looks  over  his  shoulder.  A  dog  lies 
on  the  floor. 

Signed  on  the  cask  with  the  monogram  G.  T.  1658. 
Canvas:  H.  38%  inches; 'W.  31I/2  inches. 
Exhibited  at  the  Royal  Academy,  London  1878. 
Collection  of  Onley  SavilUOnley,  London. 

Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 


433 


GERARD  TERBORCH 

CONTINUED 
129 

LADY  POURING  WINE 

THREE  half4ength  figures.  On  the  left  a  young  woman 
in  a  red  jacket  and  a  gray  skirt  pours  wine  from  a 
pewter  flagon  for  a  man  sitting  on  the  right,  who  looks 
back  toward  her,  as  the  old  mother  standing  behind  her 
daughter  offers  him  a  plate  of  food.  He  wears  a  dark  suit 
and  a  large  black  hat. 

Panel:  H.  13%  inches; "W.  10% inches. 

Smith  Suppl.,  No.  22. 

Van  Loon  Collection,  Amsterdam,  1842. 

Lent  by  Mr.  M.  C.  D.  Borden,  New  York. 


434 


TERBORCH 


iNE 


X   in 

-oung  woman 
.y  skin                        from  a 

pev 

>n  the                          ^>ks 

bac' 

>er  standir 

daub 

plate  of  food.  He  wears  a  dark 

an  ...  hat. 

iches;  W 
Suppl.,  N 
n  Loon  Collection,  Amsterdam,  1842. 

Lent  by  D.  Borden,  New  York. 


434 


GERAR1 


PC 


F 


we.- 

Lr.  Or 
Utrech 
backgr 

Canvas:  h 

ipanion  pi« 
Exhibited  at  the  F 
Col1 
dc 

Lent  by  I 


GERARD  TERBORCH 

CONTINUED 

130 

PORTRAIT  OF  A  YOUNG  MAN 

FULL-LENGTH.  Figure  of  a  young  man  standing  in 
a  room.  He  is  dressed  in  Hack  with  a  long  cape  and 
wears  a  white  lace*trimmed  shirt  with  a  deep  cambric 
collar.  On  a  table  at  the  right,  covered  with  dulLred 
Utrecht  velvet,  rests  his  hat;  at  his  left  a  chair.  Gray 
background. 

Canvas :  H.  32I/8  inches ;  ^/.  25  inches. 
Companion  piece  in  the  same  collection. 
Exhibited  at  the  Royal  Academy,  London,  1884. 
Collection  of  Hon.  W.  F.  B.  Massey  Main  waring,  Lon= 
don. 

Lent  by  Senator  W.  A.  Clark,  New  York. 


439 


GERARD  TERBORCH 

CONTINUED 

131 

PORTRAIT  OF  A  LADY 

ALMOST  full4ength.  Facing  the  spectator.  The 
right  hand  is  held  across  her  person,  the  left  hangs 
at  her  side.  At  her  left  is  a  table  with  a  blue  cover.  She 
wears  a  black  silk  dress,  opening  in  front  over  a  white 
satin  skirt  trimmed  with  gold  lace.  Pearls  in  her  ears. 
Her  hair  is  drawn  tightly  back  and  arranged  in  ringlets. 

Canvas:  H.  21  %  inches; "W.  16  inches. 

About  1660*65. 

Collection  of  A.  Thiem,  San  Remo. 

Lent  by  Mr.  Henry  C.  Frick,  New  York. 


440 


GERARD  TERBORCH 

•- "  I  ED 

131 

PORTRAIT  OF  A  LADY 

ALMOST  fulUlength.  Faci  nor.  The 

:ht  hai  cross  her  p<  left  hangs 

i  ble  with  $  "he 

ling  in  front  ovt 
;th  gold  lace.  Pearls  in  her  ea 
r  hair  is  drawn  tightly  back  and  arty  aglets. 

Canvas:  H.  ;• 
About  i66o*C 
Collection  of  A.  Thiem,  San  Remo. 

Lent  by  Mr.  Henry  C.  Frick,  New  York. 


440 


DRIAEN  \  DE 

See  a! 


B  I  at  An 

ofhis 
and  J  a 

etch  dscape 

painted  figures  i 
Philips  Koninck. 


' 


nG 


: 


^regrounc 

shore  is  a  brin* 

- 

a  blue  d 

■     ■ 

herdsir 

a  she 

stan 

of  she; 

i  ace  a  c 

ains 

u. 

Signed  at  tr. 

j-p/^1 1 

] 

Canvas:  H.  2 

Smith,  No. 

Collectior 

Colled:!  - 

• 

dene.  S 

ADRIAEN  VAN  DE  VELDE 

See  also  Jan  van  der  Heyden,  No.  45,  and 
Meindert  Hobbema,  No.  51 

BORN  at  Amsterdam,  1635=36;  died  tbere  in  1672. 
Pupil  of  bis  fatber,  Willem  van  de  Velde  tbe  elder, 
and  JanWynants.  Worked  at  Amsterdam.  Painter  and 
etcber  of  landscapes  and  animals;  be  also  frequently 
painted  figures  in  landscapes  by  Hobbema,  Wynants, 
Pbilips  Koninck,  Jan  Hackaert  and  otbers. 

132 

LANDSCAPE  WITH  CATTLE 

At  tbe  left,  in  tbe  sbadow  of  a  bill,  tbree  cows  and  a  sbeep 
stand  in  a  pool  near  a  trougb ;  a  brown  and  wbite  cow  in 
tbe  foreground  is  turned  to  tbe  rigbt ;  bebind  tbem  on  tbe 
sbore  is  a  brindled  cow,  and  near  by  a  borsewoman,  in 
a  blue  dress  witb  yellow  sleeves  and  cap,  speaks  witb  a 
berdsman.  In  tbe  foreground  on  tbe  rigbt,  two  cows  and 
a  sbeep  be  on  tbe  bank  of  tbe  pooL  In  tbe  distance  a  group 
of  sbepberds  and  a  small  flock  of  sbeep.  In  tbe  middle 
distance  a  castle  on  a  bill  and  blue  mountains  along  tbe 
borizon. 

Signed  at  tbe  left  on  tbe  trougb:  A.  v.  Velde  f.  1666 

Canvas:  H.  21 V2  incbes;  "W.  24  incbes. 

Smitb,  No.  137. 

Collection  of  PbiKp  Henry  Hope,  London,  1834. 

Collection  of  Lord  Francis  Pelbam  Clinton  Hope,  Deep* 

dene.  Sold  in  1898. 

Lent  by  Mr.  Jobn  G.  Jobnson,  Pbiladelpbia. 


445 


WILLEM  VAN  DE  VELDE 

BORN  at  Leyden,  1633.  Died  at  Greenwich,  1677. 
Pupil  of  his  father,  Willem  van  de  Velde  the  elder, 
and  of  Simon  de  Vlieger.  Worked  at  Amsterdam  and 
from  1673  at  London.  Marine  painter. 

133 

CALM  SEA 

A  narrow  tongue  of  land  juts  forward  on  the  left,  form* 
ing  an  inlet,  in  which  are  two  sailboats,  with  partly* 
reefed  brown  and  gray  sails,  and  one  small  boat.  Two 
men  are  at  -work  in  one  of  the  boats.  A  man  in  a  dark* 
bluejacket  and  a  red  cap,  carrying  a  basket  on  his  back, 
is  advancing  toward  the  boats  from  the  left.  On  the  right 
in  the  background  two  more  sailboats.  A  misty  sky 
with  warm  afternoon  light.  In  the  left  foreground,  on  a 
piece  of  wood,  the  letters :  W\  V.  V. 

Panel:  H.  10  inches;  "W.  12  inches. 

Lent  by  Mr.  William  T.  Blodgett,  New  York. 


446 


WILLEM  VAN  DE  VELDE 

BLeydcn,  1633.  Died  at  Greenwich,  1677. 
ais  father,  Willem  van  de  Velde  the  elder, 
{  of  Simon  de  Vlieger.  Worked  at  Amsterdam  and 
from  1673  at  London.  Marine  painter. 

133 

CALM  SEA 

A  narrov  s  forward  on  the  left,  form* 

ing  an  inlet,  boats,  with  partly* 

reefed  brow  and  one  small  boat 

men  are  at  work  in  one  of  the  b  nk* 

bluejacket  and  a  red  cap,  carryin 

is  advancing  toward  the  boats  from  t 

in  the  background  two  more  sailboats.  A  misry  sky 

with  warm  afternoon  light.  In  the  left  foreground,  on  a 

piece  of  wood,  the  letters :  W.  V.  V. 

Panel :  H .  1  o  inches ;  W  :  ches . 

Lent  by  Mr.  Wi:  .  Blodgett,  New  York. 


446 


WILLEM  VAN  DE  VELDE 

CONTINUED 

134 

CALM  SEA 

A  BOAT  with  large  cream^colored  sails  lies  in  a  bay 
extending  toward  the  left  of  the  canvas.  A  smaller 
boat  is  anchored  beside  it.  At  the  left  of  tbe  foreground 
/ke  fortified  with  piles  are  two  men.  A  boat  with 
three  fishermen  at  work  in  it  lies  nearby.  A  fourth  man 
advances  along  the  shore  from  theright,  carrying  abasket 
on  his  back.  Just  beyond,  two  men  are  bathing  off  a  little 
promontory  where  a  saiUboat  has  been  beached.  Several 
frigates  are  anchored  at  the  mouth  of  the  bay.  Afternoon 
light.  Warm  yellowish  clouds  in  a  blue  sky. 

Signed  on  a  piece  of -wood  in  the  foreground  fW.  V.  V. 

1661. 

Canvas:  H.  15  inches;  "W\  igVi  inches. 

Lent  by  Mr.  M.  C.  D.  Borden,  New  York. 


451 


WILLEM  VAN  DE  VELDE 

CONTINUED 

134 

CALM  SEA 

ABO  AT  with  large  creamscolored  sails  lies  in  a  bay- 
extending  toward  the  left  o£ the  canvas.  A  smaller 
boat  is  anchored  beside  it.  At  the  left  of  the  foreground 
on  a  dyke  fortified  with  piles  are  two  men.  A  boat -with 
three  fishermen  at  work  in  it  lies  nearby.  A  fourth  man 
advances  along  the  shore  from  the  right,  carrying  abasket 
on  his  back.  Just  beyond,  two  men  are  bathing  off  a  little 
promontory  where  a  sail*boat  has  been  beached.  Several 
frigates  are  anchored  at  the  mouth  of  the  bay.  Afternoon 
light.  Warm  yellowish  clouds  in  a  blue  sky. 

Signed  on  a  piece  of  wood  in  the  foreground  :W.  V.  V. 

1661. 

Canvas:  H.  15  inches;  "W.  19V2  inches. 

Lent  by  Mr.  M.  C.  D.  Borden,  New  York. 


451 


JOHANNES  VERMEER  VAN  DELFT 

BORN  in  Delft  in  1632.  Died  about  1675.  Pupil  of  Karel 
Fabritius.  His  early  works  snow  the  influence  of 
Rembrandt's  school.  Later  bis  coloring  became  cooler, 
yellow  and  blue  predominating.  There  are  at  the  present 
time  thirty=six  authenticated  paintings  by  him,  of  which 
seven  are  in  America.  Painter  of  genre  pictures,  gener* 
ally  with  one  or  two  figures,  occasionally  of  landscapes, 
and  religious  and  mythological  scenes. 

135 

LADY  WITH  LUTE 

A  young  woman  wearing  a  yellow  jacket  trimmed  with 
ermine  is  seated  behind  a  table.  She  holds  a  lute  and  looks 
toward  a  window  on  the  left,  through  which  a  strong 
light  falls  into  the  room.  On  the  table  before  her,  which 
has  a  bluesstriped  cover,  are  two  music  books.  In  front  of 
it  a  chair  with  carved  lions'  heads  has  a  deep  blue  dra* 
pery  thrown  across  it.  On  the  right,  against  the  wall,  is  a 
chair  upholstered  in  leather,  and  above  it  hangs  a  map 
of  Europe.  A  blue  curtain  at  the  window. 

Signed  on  the  wall  beneath  the  table :  Meer. 
Canvas:  H.  205/s  inches;  "W.  18V&  inches. 
From  an  English  collection. 

Lent  by  Mrs.  Collis  P.  Huntington,  New  York. 


452 


US 


IEERVAN  DELFT 

75.  Pupil  of  Karel 
>w  the  infiue 
coloring  became 
1  g .  There  are  at  the  r 
oaintings  by  him,  of  which 
Painte  \re  pictures,  gener? 

o  figures,  occasionally  of  landscapes, 
ythologic  es. 

. 

dwidi 

■ 

i  rough  wl 
alls  into  the  room.  On  the  table  b  which 

-.  a  blue*striped  c  ovei  ;  of 

a  chair  with  carved  lions'  heads  has  a  d- 
pe^  wn  across  it.  On  the  right,  against  the  wall,  is  a 

■n  leather,  and  above  it  hangs  a  map 
urope.  A  blue  curtain  at  the  -window. 

on  the  wall  beneath  the  table:  M 
\s:  H.  20%  inches;  "W.  iS'/s  inch* 
q  an  English  collection. 

by  Mrs.  Collis  P.  Hunti  1  New  York. 


45* 


JOHAb 


A  LADY  i. 
trimrr 

■ 

The  c 
A  large  darl: 
greenisk-grcv 
the] 


SaleDr,  Lucb; 

(probably)  J 
Sale  H.  Reydon  a 
Sale  Comte  F.  de 

Lent  by  Mr 


JOHANNES  VERMEER  VAN  DELFT 

CONTINUED 

136 

LADY  WRITING 

A  LADY  in  morning  toilet,  wearing  a  yellow  jacket 
trimmed  witk  ermine,  sits  writing  at  a  bluescovered 
table  on  wnick  are  writing  materials,  a  casket,  and  a 
string  of  pearls.  Leaning  forward  she  turns  to  look  at  tke 
spectator.  Ske  wears  pearl  earrings  and  kas  bows  in  ker 
kair.  Tke  ckair*back  is  ornamented  witk  gilded  Kons' 
keads.  A  large  dark  map,  only  partly  visible,  kangs  on 
tke  greenisksgray  wall.  Tke  Hgkt  falls  on  tke  canvas  from 
tke  left,  strongly  illumining  tke  kead  and  bust  of  tke  lady. 

Canvas:  H.  iS1/^  inckes;  "W.  14V2  inckes. 

Burger,  No.  40;  Havard,  No.  43;  Hofstede  de  Groot, 

No.  36. 

Sale  (probably)  at  Amsterdam,  1696. 

Sale  Dr.  Lucktmans,  Rotterdam,  1816. 

Sale  (probably)  J.  Kamermans,  Rotterdam,  1825. 

Sale  H.  Reydon  and  otkers,  Amsterdam,  1872. 

Sale  Comte  F.  de  Robiano,  Brussels,  1837. 

Lent  by  Mr.  J.  Pierpont  Morgan,  New  York. 


457 


JOHANNES  VERMEER  VAN  DELFT 

CONTINUED 

137 

GIRL  WITH  WATER,JUG 

ALMOST  £ull4ength.  A  young  woman  stands  in 
the  corner  of  a  room  behind  a  table,  holding  with 
the  left  hand  a  water=jug  placed  in  a  basin,  her  right  hand 
resting  on  the  frame  of  an  open  window.  She  wears  a 
light  yellow  bodice,  dark  blue  skirt,  a  white  collar  and 
a  folded  kerchief  on  her  head.  An  open  trinket^box  lies 
on  the  table,  which  is  covered  with  an  Oriental  carpet. 
A  chair  in  the  background  has  a  blue  drapery  thrown 
over  it.  A  map  hangs  on  the  wall  above  the  chair. 

Canvas:  H.  17V2  inches;  W.  15V2  inches. 
Havard,  No.  5b;  Hofstede  de  Groot,  No.  56. 
Collection  of  Lord  Powerscourt,  1887. 
Collection  of  Henry  G.  Marquand. 

Property  of  The  Metropolitan  Museum  of  Art, 
New  York. 


458 


NNES  VERMEER  VAN  DELFT 

'  TNUED 

137 

GIRL  WITH  WATER*JUG 

ALMOST  fulMength.  A  young  woman  stands  in 
the  corner  of  a  room  behind  a  table,  Holding  with 
the  left  hand  g  placed  in  a  basin,  her  right  hand 

resting  on  the  t:  w.  She  wears  a 

light  yellow  bo. :  ir  and 

a  folded  kerchie  i 

on  the  table,  d  with 

A  chair  in  tl  d  has  a  blue  draj 

:  it.  A  map  h  \  the  wall  abo 

nvas:  H.  ljVz  inches;  W.  1^/2  inches. 

ard,  No.  56;  Hofstede  de  Groot,  No.  56. 
'lection  of  Lord  Pow  irt,  1887. 

•lection  of  He  irquand. 

Property  of  The  Metropolitan  Museur  <t, 

New  York. 


458 


JOHANNES  VERMEER  VAN  DELFT 

CONTINUED 

137A 

GIRL  SLEEPING 

A  GIRL,  leaning  her  head  on  her  right  hand,  sits  he* 
hind  a  table  at  the  left;  her  left  hand  rests  on  the 
table.  She  wears  a  small  black  cap  and  a  brown  dress 
with  white  ribbons.  The  table  is  covered  with  a  Turkish 
rug,  and  on  it  are  a  blue  dish  with  fruit,  a  napkin,  a  white 
jug  and  a  knife.  In  the  corner  of  the  right  foreground  is 
the  back  of  a  chair.  In  the  background  the  corner  of  a  pic* 
ture  of  Cupid  (see  note  to  No.  138).  On  the  right  a  half- 
open  door  leads  to  another  room  where  a  table  is  seen 
with  a  small  picture  hanging  above  it. 

Signed  at  the  left:  J.  V.  Meer  (the  V.  and  M.  are  inter* 

twined). 

Canvas:  H.  34  inches;  "W.  29  V2  inches. 

Sale  at  Amsterdam,  1696. 

Sale  John  W.  Wilson,  Paris,  1881. 

Collection  of  Rodolphe  Kann,  Paris. 

Lent  by  Mr.  B.  Altman,  New  York. 


463 


JOHANNES  VERMEER  VAN  DELFT 

CONTINUED 

137A 

GIRL  SLEEPING 

A  GIRL,  leaning  her  head  on  her  right  hand,  sits  he* 
hind  a  table  at  the  left;  her  left  hand  rests  on  the 
table.  She  wears  a  small  black  cap  and  a  brown  dress 
with  white  ribbons .  The  table  is  covered  with  a  Turkish 
rug,  and  on  it  are  a  blue  dish  with  fruit,  a  napkin,  a  white 
jug  and  a  knife.  In  the  corner  of  the  right  foreground  is 
the  back  of  a  chair.  In  the  background  the  corner  of  a  pic* 
ture  of  Cupid  (see  note  to  No.  138).  On  the  right  a  half* 
open  door  leads  to  another  room  where  a  table  is  seen 
with  a  small  picture  hanging  above  it. 

Signed  at  the  left:  J.  V.  Meer  (the  V.  and  M.  are  inter* 

twined). 

Canvas:  H.  34  inches;  W.  29  V2  inches. 

Sale  at  Amsterdam,  1696. 

Sale  John  "W.  Wilson,  Paris,  1881. 

Collection  of  Rodolphe  Kann,  Paris. 

Lent  by  Mr.  B.  Altman,  New  York. 


463 


JOHANNES  VERMEER  VAN  DELFT 

CONTINUED 

138 

THE  MUSIC  LESSON 

A  YOUNG  woman  is  seated  in  the  corner  of  a  room 
by  a  table,  wearing  a  red  jacket,  blue  skirt  and  a 
white  folded  kerchief  on  her  head.  She  faces  the  specta* 
tor,  holding  a  sheet  of  paper  in  her  hand.  A  man  wearing 
a  bluishsgray  cloak  stands  by  her  side,  his  left  hand  resting 
on  her  chair,  his  right  stretched  out  to  receive  the  paper. 
On  the  table  are  a  mandolin,  a  music  book,  a  Chinese 
vase  and  a  glass  filled  with  red  wine.  A  chair  with  a  blue 
cushion  stands  in  front  of  the  table  and  a  second  chair 
behind  it.  The  light  falls  on  the  figures  from  a  window 
on  the  left,  near  which  hangs  a  bird*cage.  In  the  back* 
ground  is  a  painting  of  Cupid. 

Canvas:  H.  15!^  inches;  "W.  xjVa  inches. 

The  picture  hanging  on  the  wall  appears  also  in  a  Ver* 

meer  in  the  National  Gallery,  London. 

Burger,  No.  9;  Havard,  Nos.  17, 18;  Hofstede  de  Groot, 

No.  27;  Catalogue  of  H.  C.  Frick's  Collection,  No.  48. 

Exhibited  at  the  Burlington  Club,  London,  1900. 

Sale  P.  de  Smeth  v.  Alphen,  Amsterdam,  1810. 

Sale  H.  Croese,  Amsterdam,  181 1. 

Sale  C.  S.  Roos,  Amsterdam,  1820. 

Collection  of  Lewis  Fry,  Clifton,  England. 

Lent  by  Mr.  Henry  C.  Frick,  New  York. 


464 


JOHANNES  VERMEER  VAN  DELFT 


A 


cc 
138 

THE  MUSIC  LESSON 

YOUNG  woman  is  seated  in  the  corner  of  a  room 

by  a  table,  wearing  a  red  jacket,  blue  skirt  and  a 

wbite  folded  kerckief  on  Her  head.  She  faces  the  specta* 

tor,  holding  a  sheet  of  paper  in  her  hand.  A  man  wearing 

a  bluishsgray  cloak  stands  by  her  side,  his  left  hand  resting 

on  her  chair,  his  right  stretched  out  to  receive  the  paper. 

i  the  table  are  a  mandolin,  a  music  book,  a  Chinese 

vase  and  a  glass  filled  with  red  wine.  A  chair  with  a  blue 

cushion  stands  the  table  and  a  second  chair 

behind  it.  The  L  he  figures  from  a  windc 

the  left,  near  wl  ags  a  bird»cage.  In  the  back* 

and  is  a  pa  Cupid. 

Canvas:  H.  15%  inches;  W\  ijVa  inches. 

The  picture  hanging  on  the  wall  appears  also  in  . .  ' 

meer  in  the  National  Gallery,  London. 

Burger,  No.  9;  Havard,  Nos.17, 18;  Hofstede  de  Groot, 

No.  27;  Catalogue  of  H.  C.  Frick's  Collection,  No.  48. 

Exhibited  at  the  Burlington  Club,  London,  1900. 

Sale  P.  de  Smeth  v.  Alphen,  Amsterdam,  18 

Sale  H.  Croese,  Amsterdam,  181 1. 

Sale  C.  S.  Roos,  Amsterdam,  1820. 

Collection  of  Lewis  Fry,  Clifton,  England. 

Lent  by  Mr.  Henry  C.  Frick,  New  York. 


464 


JOHANNES  VERMEER  VAN  DELFT 

CONTINUED 

139 

LADY  WITH  GUITAR 

THREE*QUARTERS  LENGTH.  A  young  lady 
with  rosy  cheeks  is  seated  near  a  gray  wall  on  the 
left.  She  wears  a  white  silk  skirt  and  a  yellow  jacket 
trimmed  with  ermine,  and  sits  facing  the  spectator,  look* 
ing  smilingly  to  the  left.  Behind  her  on  the  right,  a  table 
with  a  blue  cover,  on  which  are  three  books.  A  land* 
scape  hangs  on  the  wall.  The  light  comes  from  the  right 
through  a  window  hung  with  dark*blue  curtains.  Of 
the  artist's  later  period. 

Canvas:  H.  20%  inches;  W.  17  inches. 

Burger,  No.  28;  Hofstede  de  Groot,  No.  26;  Havard, 

No.  31. 

After  Vermeer's  death  his  widow  redeemed  a  debt  of 

617  florins  with  this  painting  and  "The  Love  Letter1' 

now  in  possession  of  O.  Beit,  London. 

Exhibited  at  the  Royal  Academy  in  London,  18c, 

Sale  at  Amsterdam,  16c 

Sale  Philip  v.  d.  Schley  and  D.  du  Pre,  Amsterdam,  181 7. 

ection  of  T.  H.  C.  Cremer,  Brussels. 
Collection  of  Lord  Iveagh,  London. 

Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 


469 


JOHANNES  VERMEER  VAN  DELFT 

CONTINUED 

139 

LADY  WITH  GUITAR 

THREE-QUARTERS  LENGTH.  A  young  lady 
with  rosy  cheeks  is  seated  near  a  gray  wall  on  the 
left.  She  wears  a  white  silk  skirt  and  a  yellow  jacket 
trimmed  with  ermine,  and  sits  facing  the  spectator,  look* 
ing  smilingly  to  the  left.  Behind  her  on  the  right,  a  table 
with  a  blue  cover,  on  which  are  three  books.  A  land* 
scape  hangs  on  the  wall.  The  light  comes  from  the  right 
through  a  window  hung  with  dark*blue  curtains.  Of 
the  artist's  later  period. 

Canvas:  H.  20%  inches;  "W.  17 inches. 

Burger,  No.  28;  Hofstede  de  Groot,  No.  26;  Havard, 

No.  31. 

After  Vermeer's  death  his  widow  redeemed  a  debt  of 

617  florins  with  this  painting  and  "The  Love  Letter" 

now'  in  possession  of  O.  Beit,  London. 

Exhibited  at  the  Royal  Academy  in  London,  1892. 

Sale  at  Amsterdam,  1696. 

Sale  Philip  v.  d.  Schley  and  D.  du  Pre,  Amsterdam,  1817. 

Collection  of  T.  H.  C.  Cremer,  Brussels. 

Collection  of  Lord  Iveagh,  London. 

Lent  by  Mr.  John  G.  Johnson,  Philadelphia. 


469 


JAN  CORNELISZ  VERSPRONCK 


B 


ORN  at  Haarlem,  1597;  died  therein  1662.  Pupil  of 
Frans  Hals.  Worked  at  Haarlem.  Portrait  painter. 

140 

PORTRAIT  OF  A  MAN 

Bust.  Turned  slightly  toward  the  right.  Only  the  left 
hand,  holding  a  glove,  is  visible.  Black  costume.  Flat 
white  collar  and  slouch  hat. 

Signed  on  the  lower  right:  J  V  Spro  .  .  .  1645. 
Canvas:  H.  31%  inches; "W.  25%  inches. 

Lent  hy  Mr.  Wilhelm  Funk,  New  York. 


470 


JAN  CORNELISZ  VERSPRONCK 


B 


ORN  at  Haarlem,  1597;  died  therein  1662.  Pupil  of 
ials.  Worked  at  Haarlem.  Portrait  painter. 

140 

PORTRAIT  OF  A  MAN 

Bus%.  Turned  slightly  toward  the  right.  Onl 
hand,  holding  a  glove,  is  visible.  Black  costume 
wl  lar  and  slouch  hat. 

Signed  on  the  lower  right :  J  V  Spro 
Canvas:  H.  3i3/e  inches; "W.  25%  inches. 

Lent  by  Mr.  Wilhelm  Funk,  New  York. 


470 


SIMON  DE  VLIEGER 

BORN  in  Rotterdam  in  1601.  Died  atWeesp  in  16 
Said  to  have  been  a  pupil  ot  Willem  van  deVelde  the 
elder.  Worked  at  Rotterdam,  Delft,  Amsterdam  and 
W^eesp.  Pain  I scapes,  animals  and  marines. 

141 

CALM  SEA 

At  the  right  two  sailsbo.  seen  moored  to  some 

rocks;  by  the  side  of  one  a  oat  with  two  men.  At 

the  left  are  two  boats  and  near  the  horizon  other  srr 
craft.  A  broad  expanse  of  blue  sky  with  clouds. 

Panel:  H.  14 V2  inches;  W.  17  inches. 

Property  of  The  Metropolitan  Museum  of  Art, 
New  York. 


475 


■  e 


SIMON  DE  VLIEGER 

BORN  in  Rotterdam  in  1 60 1.  Died  at  Weesp  in  1653. 
Said  to  have  been  a  pupil  of  Willem  van  de Velde  the 
elder.  "Worked  at  Rotterdam,  Delft,  Amsterdam  and 
V/eesp.  Painter  of  landscapes,  animals  and  marines. 

141 

CALM  SEA 

At  the  right  two  sailboats  are  seen  moored  to  some 
rocks;  by  the  side  of  one  a  row*boat  with  two  men.  At 
the  left  are  two  boats  and  near  the  horizon  other  small 
craft.  A  broad  expanse  of  blue  sky  with  clouds. 

Panel:  H.  14 V2  inches;  "W.  17  inches. 

Property  of  The  Metropolitan  Museum  of  Art, 
New  York. 


475 


PHILIPS  WOUWERMAN 

BORN  at  Haarlem,  1619;  died  there  in  1668.  Pupil  of 
his  father,  ofFrans  Hals  and  PieterVerbeeck.  He  was 
for  a  time  at  Hamburg  and  was  possibly  in  Italy.  Painter 
and  etcher  of  landscapes  and  scenes  with  horses. 

142 

FROZEN  CANAL 

A  sleigh  in  which  a  lady  is  seated,  drawn  by  a  white 
horse,  stands  on  the  frozen  canal,  which  winds  from  the 
right  towards  the  left  background.  The  coachman  is  in 
red.  Behind  the  sleigh  a  straw^thatched  cottage  with 
smoke  issuing  from  the  chimney.  In  the  left  foreground, 
partly  shaded,  are  a  peasant's  sleigh  and  a  boy  pushing  a 
small  sled  on  which  a  girl  is  seated.  Gray  clouds  are  mass* 
ing  in  the  blue  sky. 

Signed  in  the  right  foreground :  PHILS  (entwined)  W. 
Panel:  H.  19%  inches;  V/.  27  inches. 
Dating  probably  from  the  fifties. 
Hofstede  de  Groot,  No.  1135. 
Von  Preyer  Collection,  Vienna. 

Lent  by  Senator  W.  A.  Clark,  New  York. 


476 


PS  WOUWERMAN 

Betted  there  in  1668.  Pupil  of 
Hals  and  PieterVerbeeck.  He  was 
aburg  and  was  possibly  in  Italy.  Painter 
-  her  of  landscapes  and  scenes  -with  horses. 

142 

:en  canal 

vhich  a  lady  ed,  drawn  by  a  white 

!  1  winds  from  the 
right  towards  the  left  bao  man  is  in 

red.  Behind  the  sleigh  a  stra 
smoke  issuing  from  the  chimney.  In 
pat  )ded,  are  a  pe.  sleigh  and  a  boy  pus.: 

small  sled  on  which  a  girl  is  seated.  Gray  clouds  are 
ing  in  the  blue  sky. 

Signed  in  the  right  foreground :  P  H I L  S  (entwined)  W. 
el:  H.  19%  inches;  W.  27 inches. 
^ing  probably  from  the  fifties, 
•ae  de  Groot,  No.  11 35. 
reyer  Collection,  Vienna. 

Lent  by  Senator  W.  A.  Clark,  New  York. 


476 


< 


PHILIPS  WOUWERMAN 

CONTINUED 

.     143 

THE  HORSE  FAIR 

Iitre  a  {  ses  with  a  large  white 

a  man  holding  tl 
by  a  peasant  in  a  red  waistcoat.  I 
ght  several  soldiers  are  t 
a  tent.  Nearby  a  group  of  gypsies  and  a  wood 
child.  On  the  left,  jund,  a  seated  w 

and  two  c  e  a  church  and  hour 

Thi ; 

hes ;  W.  25%  incht 
by  Mrs.  E.  C.  Hobson,  V/ashington. 


481 


PHILIPS  WOUWERMAN 

CONTINUED 

143 

THE  HORSE  FAIR 

IN  the  centre  a  group  of  horses  with  a  large  white 
one  in  the  foreground;  a  man  holding  the  head  of  one 
mounted  by  a  peasant  in  a  red  waistcoat.  Under  a  large 
tree  on  the  right  several  soldiers  are  trying  horses  before 
a  tent.  Nearby  a  group  of  gypsies  and  a  woman  with  a 
child.  On  the  left,  in  the  foreground,  a  seated  woman 
and  two  children;  in  the  distance  a  church  and  houses. 
Thinlysclouded  sky. 

Canvas:  H.  1714  inches;  "W.  2,$5/s  inches. 

Lent  by  Mrs.  E.  C.  Hobson,  Washington. 


48] 


LIST  OF  CONTRIBUTORS 


contributor 
Chicago 
Art  Institute      . 


SUBJECT 


ARTIST 


91 


Hutchinson,  Charles  L.   26 


Logan,  Frank  G.     . 

Montreal 
Home,  Sir  William  van 


76 


Portrait  of  a  Girl 

(Hendrickje  Stoffels?)  Rembrandt 

Wilhem  van  Heyt* 

huysen       .      .      .   Frans  Hals 
Portrait  of  Himself  Rembrandt 


Ross,  J 


ames 


Newport 
Davis,  Theodore  M. 


New  York 
Adams,  Thatcher  M. 
Altman,  B.        . 


9 

59 

99 
112 


•  44 

101 
3 

.  61 

,  22A 
IO4A 


IO7A 


IO7B 


River  View 
Samuel  Ampring 
The  Dunes  . 
Portrait  of  a  Man 
Stormy  Sea  . 

Street  in  Delft    . 
Sunset     . 
The  Sibyl     . 
Portrait  of  a  Lady  . 

Portrait  of  a  Man   . 

The  Merry  Com* 
pany     .... 

Portrait  of  a  Young 
Man  (Thomas  Ja* 
cobszHaring?) 

Titus,  the  Son  of 
Rembrandt  (The 
Man  with  a  Mag* 
nifying  Glass) . 

Magdalenavan  Loo 
(Lady  with  a  Pink) 

483 


Aelbert  Cuyp 
Frans  Hals 
Philips  Koninck 
Rembrandt 
Jacob  van  Ruisdael 

Jan  van  der  Heyden 
Aert  van  der  Neer 
Rembrandt 
Ferdinand  Bol 

Nicolaes  Maes 
Frans  Hals 


Rembrandt 


Rembrandt 


Rembrandt 


Borden,  M.  C.  D. 


New  York — Continued 

Altman,  B.        .      .      .  112A  WTieatfields  (Un 

Coup  de  Soleil) 
137A  Girl  Sleeping 
Blodgett, William  T.   .  46  The  Pool      .      .      . 

56  Cavaliers  and  Ladies 
7  1  Cottage  Scene   . 

4  5  Bull  in  the  Street     . 

133  Calm  Sea 
14  Man  Eating  Mussels 
29  Rev. Caspar  Sibelius 
47  Castle  Kostverloren 

5  7  The  Music  Party  . 
105  Lucretia  Stabbing 

Herself 
116  The  Cascade 

1 29  Lady  Pouring  Wine 

134  Calm  Sea 
1  The  Ford 
6  Village  in  the  Dunes 

18  Viewof  Rhenen     . 

19  View  of  Dordrecht 
113  Woods  .... 
142  Frozen  Canal     . 

130  Portrait  of  a  Young 
Man      .... 

10  MilkingsTime    . 
78  Portrait  of  a  Man    . 
43   Portrait  of  a  Lady   . 


Bushnell,  Charles  E. 
Clark,  Senator  "W.  A 


Dickerman,W\  B. 
Ellsworth,  James  "W. 
Forest,  Robert  W^.  de 


Frick,  Henry  C. 


115  The  Gnarled  Oak   . 
8  The  Maas  near 
Dordrecht  . 
28  Portrait  of  an  Artist 
49  Cottage  among  Trees 

484 


Jacob  van  Ruisdael 
Johannes  Vermeer 
Meindert  Hobbema 
Pieter  de  Hooch 
Isack  van  Ostade 
Jan  Van  der  Heyden 
Willem  van  deVelde 
Aelbert  Cuyp 
Frans  Hals 
Meindert  Hobbema 
Pieter  de  Hooch 

Rembrandt 
Jacob  van  Ruisdael 
Gerard  Terborch 
Willem  van  de  Velde 
Nicolaes  Berchem 
Aelbert  Cuyp 
Jan  van  Goyen 
Jan  van  Goyen 
Jacob  van  Ruisdael 
Philips  Wouwerman 

Gerard  Terborch 
Aelbert  Cuyp 
Rembrandt 
Bartholomeus  van 

der  Heist 
Jacob  van  Ruisdael 

Aelbert  Cuyp 
Frans  Hals 
Meindert  Hobbema 


New  York — Continued 
Frick,  Henry  C.     .      .   9  2 


102 
117 
131 
138 
140 


Funk,  Wilhelm 
Gould,  George  J. 


.    1 1 

52 

95 
98 

Havemeyer,  Mrs.  H.  O.   88 

89 

Hermann,  Ferdinand  .  66 
Hirsch,  Leon  .  .  -73 
New  York  Historical 


Society      . 
Huntington,  Mrs.C.  P 


84 

7 

35 

3<> 

37 

97 
103 

118 


i35 
Jesup,  Mrs.  Morris  K.  .   27 

82 


83 


Portrait  of  a  Young 
Man  .... 
Portrait  o£  Himself 
AWaterfall  .  . 
Portrait  of  a  Lady  . 
The  Music  Lesson  . 
Portrait  of  a  Man    . 

MilkingsTime    . 
Road  in  the  Woods 
Study  of  an  Old  Man 
The  StandardsBearer 
The  Gilder,  Herman 

Doomer 
Portrait  of  an  Old 

Woman     . 
The  Visit 

Sunset     .... 
Cattle  in  Pasture 

Portrait  o£  a  Man  . 
Piping  Shepherds  . 
Portrait  of  a  Man  . 
Dorothea  Berck 
Balthasar  Coymans 
The  Savant  . 
Hendrickje  Stoffels 
The  Mountain  Tor* 

rent       .... 
Lady  with  Lute 
Portrait  of  a  Man    . 
Portrait  of  a  Young 

Man      .... 
Portrait  of  a  Young 

Woman     . 
485 


Rembrandt 
Rembrandt 
Jacob  van  Ruisdael 
Gerard  Terborch 
Johannes  Vermeer 
Jan  Cornelisz.  Vers 

spronck 
Aelbert  Cuyp 
Meindert  Hobbema 
Rembrandt 
Rembrandt 

Rembrandt 

Rembrandt 
Pieter  de  Hooch 
Aertvan  der  Neer 
Paulus  Potter 

Rembrandt 
Aelbert  Cuyp 
Frans  Hals 
Frans  Hals 
Frans  Hals 
Rembrandt 
Rembrandt 

Jacob  van  Ruisdael 
Johannes  Vermeer 
Frans  Hals 

Rembrandt 

Rembrandt 


New  York — Continued 
Jesup,  Mrs.  Morris  K.  .119  Canal  Scene 


The  Metropolitan  Mu* 


seumo 


fArt 


Morgan,  J.  Pierpont 


17  View  of  Rhenen     . 

2  2  The  Smoker 

40  Portrait  of  a  Lady  . 

41  Portrait  of  a  Man    . 

42  Portrait  of  a  Man    . 

63  A  Music  Party.      . 

6  7  The  Farrier  . 

68  The  Old  Fiddler      . 

106  Portrait  of  a  Man    . 

107  Portrait  of  a  Man    . 
1 14  The  Forest  Stream  . 

120  A  Country  Road     . 

121  Winter  Scene   . 

123   Kermesse 
137  Girl  -with Watersjug 
141   Calm  Sea 
.    12  Landscape  with  Fig* 
ures  and  Cattle 

20  Children  Playing 

Cards    .... 

2 1  Girls  with  a  Cat 

30  MichieldeWael(?) 

3  1  Portrait  of  a  Lady   . 
3  3  Heer  Bodolphe  . 
34  Vrouw  Bodolphe    . 
5  1  Trevor  Landscape  . 
48  Holford  Landscape 

53 a  Woman  at  the 
'Washtub 
486 


Salomon  van  Ruys* 
dael 

JanvanGoyen 
Frans  Hals 
Frans  Hals 
Frans  Hals 
Bartholomeus  van 

der  Heist 
Gabriel  Metsu 
Aert  van  der  Neer 
Adriaen  van  Ostade 
Rembrandt 
Rembrandt 
Jacob  van  Ruisdael 
Salomon  van  Ruys= 

dael 
Salomon  van  Ruys* 

dael 
Jan  Steen 
Johannes  Vermeer 
Simon  de  Vlieger 

Aelbert  Cuyp 

Dirk  Hals 
Dirk  Hals 
Frans  Hals 
Frans  Hals 
Frans  Hals 
Frans  Hals 
Meindert  Hobbema 
Meindert  Hobbema 

Pieter  de  Hooch 


New  York — Continued 

Morgan,  J.  Pierpont     .   64  A  Visit  to  the  Nurs* 

ery Gabriel  Metsu 

74  Portrait  of  Himself  Rembrandt 
7  7  Nicolaes  Ruts    .      .  Rembrandt 
93  A  Young  Painter 
(Jan  van  de  Ca? 
pelle?)  ....  Rembrandt 

108  Cottage  under  Trees  Jacob  van  Ruisdael 
136  LadyV/riting  .      .  Jokannes  Vermeer 

Mortimer,  Ricbard      .  85  Marquis  dAndelot  Rembrandt 
Scbwab,  Cbarles  M.    .   39  Portrait  of  a  Man    .   Frans  Hals 

104  Tbe  Accountant     .  Rembrandt 
125  Tbe  Drained  Cask  .  Jan  Steen 
Simpson,  Mrs. JobnW.    13  Landscape  witb 

Bridge  ....  Aelbert  Cuyp 

109  Tbe  Sluice   .      .      .  Jacob  van  Ruisdael 
Smitb,  Cbarles  Stewart  2  3  Singing  Boys     .      .  Frans  Hals 

80  Saint  Jobn  tbe  Bap* 

tisx Rembrandt 

Terrell,  Herbert  S.       .   90  Portrait  of  Himself  Rembrandt 
Vanderbilt, "W.  K.       -79  Tbe  Noble  Slav      .   Rembrandt 

Philadelphia 

Elkins,  Mrs.^VilliamL.     2  Still  Life       .      .      .  Abrabam  van  Beys 

eren 
50  V/ooded  Road  .      .  Meindert  Hobbema 
72  Barnyard  Scene      .   Paulus  Potter 

Jobnson,  Jobn  G.     .      .      5  Marine    ....  Jan  van  de  Capelle 

1  5  Cock  and  Hens       .  Aelbert  Cuyp 
16  Peacbes  ....  Aelbert  Cuyp 
58  Still  Life        .      .      .  WillemKalf 
60  Tbe  Gay  Cavaliers  Juditb  Leyster 
62  Old  Woman      .      .   Nicolaes  Maes 

86  Tbe  Findingof Moses  Rembrandt 

87  Slaughtered  Ox      .   Rembrandt 

487 


Widener,  P.  A.  B. 


Philadelphia — Continued 

Johnson,  John  G.    .      .  1 1 1   Winter  Landscape 

124  Grace  before  Meat  . 
128  The  Guardroom  . 
132  Landscape  with 

Cattle    .... 

139   Lady  with  Guitar   . 

4  Winter  Scene    . 

32  Portrait  of  a  Man   . 

3  8  Isabella  Coymans   . 

54  Woman  and  Child 

in  Courtyard  . 
5  5  The  Bedroom    . 
69  The  Cottage  Door* 
yard      .... 
7  o  The  Halt 
81   Saskia     . 
94  Portrait  o£  Himself 
96  The  Philosopher 
122  Winter  near  Haar* 
lem 


Toledo 
Libbey,  E.  D. 

Washington 
Hobson,  Mrs.  E.  C. 
Slater,  W.  A.    .      . 


126  The  Dancing  Couple 

127  The  Merrymakers  . 

2  4   Boy  Playing  a  Flute 
7  5  Portrait  of  Himself 

143  The  Horse  Fair 
100  Portrait  o  f  an  Old 

Man      .... 
no  Dunes  near  Haarlem 


Jacob  van  Ruisdael 
Jan  Steen 
Gerard  Terborch 

Adriaen  van  de  Velde 
Johannes  Vermeer 
Jan  van  de  Capelle 
Frans  Hals 
Frans  Hals 

Pieter  de  Hooch 
Pieter  de  Hooch 

Adriaen  van  Ostade 
Isack  van  Ostade 
Rembrandt 
Rembrandt 
Rembrandt 

Salomon  van  Ruys? 

dael 
Jan  Steen 
Jan  Steen 

Frans  Hals 
Rembrandt 

Philips  Wouwerman 

Rembrandt 

Jacob  van  Ruisdael 


488 


THE  PRINTING,  ILLUSTRATIONS  AND 
BINDING  OF  THIS  CATALOGUE  WERE 
EXECUTED  UNDER  THE  DIRECTION  OF 
FREDERIC  FAIRCHILD  SHERMAN  FOR 
THE  METROPOLITAN  MUSEUM  OF  ART 

MCMX 


